Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of T r a d e a n d C u l t u r a l R e l a t i o n s I n d i a n I n s t i t u t e o f T r a d e a n d C u l t u r a l R elations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relation Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade th A I In ti tS u r c n i n tuo f i a nd a s e T a & l r l l sf Cu u a Re ti no r de t a o c m i p m ent s sub ar a f ll en the ee:T s d i mitted ti l ulfi t for deghi o u n r o A c rM f e ro oaster r h t [P fessi nal]c i e tu a W n rt th n ver t a and esbur o fr ca n 2e U i si y of th itw ter , Joha g, uth A i i the 007e str n S yea . P R E F A C E ii & l te Cu ure rcId ti t n A hi c r :n ty i e tu e a proposed Dipen Ramesh Patel I would like to thank: I, Dipen Ramesh Patel, 000611D, am a student registered for the course Paul Kotze, Melinda Silverman, Gerald Chungu, Lone Poulsen & Alan Master of Architecture [Professional] in the year 2007. Mabin for their guidance and advice through the year. Your professional I hereby declare the following: manner and dedication in assisting me with this dissertation is highly appreciated. I am aware that plagiarism [the use of someone else?s work without permission and/or without acknowledging the original sources] is wrong. I Suvir, Udesh, Aathish, Harsha, Avni, Nikki, Sonal, Mizan, Anand, Shohal confirm that the work submitted for the above course is my own unaided and Bhavesh, Radha Foi, Sheila Mami for their assistance and work except where I have stated explicitly otherwise. I have followed the reassurance throughout the year. You guys are the best. Thanks for caring. required conventions in referencing thoughts, ideas, and visual material of others. For this purpose, I have referred to the Graduate School of Engineering and the Built Environment style guide. I understand that the University of the Witwaterstrand may take disciplinary action against me if there is a belief that this is not my unaided work or that I have failed to acknowledge the source of the ideas or words in my own work. ______________ Signature ______________ Date Jannine, Tim and Mukesh at the architecture library at the University of KwaZulu Natal for all the favours that you guys did for me. I owe you! And lastly (and mostly), I would like to thank my Ba (Mum) and Bapu (Dad) for their constant and never ending support, love and encouragement throughout the years. This thesis is a testament to your dedication and infinite faith in me. denI tity and Culture c tin Ar hi ecture ii ref e P ac denI tity and Culture c tin Ar hi ecture iii ref e P ac Title page 3.2) Museums in History Declaration 3 .3) Museums in today's world Acknowledgments 3.4) The Museum as Memorial as Monument Contents Page 3.5) Case Study: The Berlin Jewish Museum 3.6) Case Study: The Benny W Reich Cultural Centre 1) Introduction 3.7) Conclusion 1.1) Introduction 1.2) Research Methodology 4) South African Memory 1.3) Architectural Research Questions 4 . 1 ) Introduction 1.4) Hypothesis 4.2) Case Study: Apartheid Museum 1.5) The Proposed Building 4.3) Case Study: Nelson Mandela Museum 1.6) Feasability and Viability 4.4) Case Study: Gateway to Robben Island 1.7) Objectives 4.5) Case Study: Red Location Museum 1.8) Accommodation Schedule 4.6) Identity in South African Architecture 1.9) Chapter Outline 4.7) Designing Place of Memory 4.8) Conclusion 2) Place of Intervention 2.1) Site Precinct Selection 5) Globalisation and Regionalism in Architecture 2.2) Point in History 5.1) Globalisation 2.3) Point in the Present 5.2) Regionalism 2.4) Point to the Future 5.3) Symbiosis 2.5) Point Timeline 5.4) Diversity in the Context of Regionalism and Globalisation 2.6) Waterfront Devlopment 2.7) Case Study: Tokyo International Port Terminal 6) Indian Architecture 2.8) The Durban People Mover 6.1) Introduction 2.9) Proposed Urban Movement System 6.2) Traditional Indian Architecture 2.10) City Context, Access and Linkages 6.3) Contemporary Indian Architecture 2.11) Point Precinct Access and Linkage 6.4) Charles Correa 2.12) Point Precinct Context 6.5) Raj Rewal 2.13) Site Context 6.6) Balakrishna Doshi 6.7) Case Study: The Indian Embassy in Berlin 3) Monument, Memory and Architecture 6.8) The Indian Garden 3.1) Introduction 6.9) Conclusion i ii ii iii 1 2 6 7 7 7 9 10 11 14 17 18 20 21 22 23 24 30 32 33 34 35 36 37 40 41 42 45 47 51 53 55 56 57 59 60 62 63 65 67 70 72 73 73 75 76 78 79 80 84 85 89 94 98 100 102 Contents denI tity and Culture c tin Ar hi ecture iv ref e P ac 7) South African Indian Architecture 11.6) Natural Ventilation 7.1) Introduction 7.2) South African Temples and Mosques Bibliography 7.3) The Grey Street Precinct 7.4) The Point Precinct 12) Appendices 7.5) Conclusion Appendix A Appendix B 8) Appendix C Appendix D 8.1) Introduction Appendix E 8.2) Political Identity and Social Change 8.3) National Identity 8.4) Case Study: The South African Constitutional Court 8.5) Cultural Industry 9) Conclusions and Recommendations 10) Design Report 10.1) Introduction 10.2) Conceptual Generators 10.3) Initial Footprint Studies 10.4) Proposal for First Design Jury 10.5) Subsequent Footprint Studies 10.6) Subsequent Design Development 10.7) Proposal for Second Design Jury 10.8) 11) Technical and Environmental Report 11.1) Introduction 11.2) Micro Planning 11.3) Construction Methods and Assembly Techniques 11.4) Articulation of the Streetscape 11.5) Daylighting Subsequent Design Development 103 104 105 110 114 117 120 121 122 124 138 131 133 136 137 138 140 141 143 144 145 153 154 155 157 158 164 167 168 169 173 174 183 184 185 186 Identity & Culture in Architecture as tools of Trade & Politics Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relation Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural T O CTIOIN R DU N 1 C H A P T E R 1 1.1) Introduction Within this definition De Jager raises another concept that is also of relevance to this study, that being Culture. What is culture? Architects and planners hace long argued (Lipman, 1961: Le Grange, 1983: Noero, 1985) about the lack of a South African Architecture. with a According to Webster's International Dictionary, Culture may be defined national identity. Causes that have been cited include diversity of cultures, as: a turbulent political past (colonialism and apartheid) and the adoption of waht we now refer to as a Western Identity. Within most societies, ?The total pattern of human behavior and its products embodied in thought, architecture has played a critical role in the portrayal of a national image. speech, action and artifacts and dependent upon man's capacity for However one must ask how existing perceptions within a counrty, learning and transmitting knowledge to succeeding generations through especially one as diverse as South Africa, may lead to different the use of tools, language?customary beliefs, social forms, and material interpretations by people of different identities. How can architecture traits constituting a distinct complex of tradition of a racial, religious, or overcome differences in order to build national identity? social group? that complex whole that includes knowledge, belief, morals, law, customs, opinions, religion, superstition and art.? In order to answer this question one needs to gain an understanding into the concepts of 'identity' and 'culture' and how this relates to the built form Culture is a result of the beliefs and the way of life of a group of people. and it's human context. Since 1994, many attempts have been made to Most cultures in the world have been influence by other cultures due to confront the challenge of at a national scale. Though highly successful, invasions, colonialism, most recently globalisation and other external one must ask if these solutions are representative of the many identities, of influences. all South African people. What is the value of place or context in the construction of an architectural identity? The Potential of Multiculturalism: An appropriate definition of the term identity is given by Williams who Multiculturalism may be defined as the philosophy of advocating that states: society should embrace and include different cultural groups with equal rights and status. Such diversity is valuable not only in itself but even more ?Identities are constructed, are continually changing, and are moulded by a so because it makes available more ways of solving problems and continually changing matrix of historical, culture and social factors.? (De responding to issues and problems. Jager, 2005: 2) denI tity and Culture c tin Ar hi ecture 2 C p er: 1ha t ec ion: 1. S t 1 denI tity and Culture c tin Ar hi ecture 3 C p er: 1ha t ec ion: 1. S t 1 ?Diversity should be enriching unity rather than cancelling it. Unity should rituals, art, dance and music and allows them to flourish. More subversive be emphasising diversity rather than abolishing it.? Source Unknown. elements of culture such as religion, language and political/ ideological There are different types of multiculturalism each with different beliefs must be addressed through a forum of tolerance and harmony until implications for unity and diversity: all threats and conflicts are eradicated. Forced multiculturalism: There is an emphasis on closed, forced, Along with the aspects identified above, one must also consider South institutionalised, regional kind of multiculturalism. An example is the Africa's political and social past and the obstacles it presents in the search apartheid regime which promoted distinguished and separate cultures. for a development of cultural identity. These aspects have led to the form of Here diversity is overemphasised and unity is neglected. our cities in their current shape; their very architectural expressions are closely connected to an imposed political order by a political power. Melting Pot multiculturalism: There is one dominant monoculture that overtime makes it impossible to recognise other cultures. E.g. USA, where In understanding South Africa's in terms of conflict amongst 'ethnic' groups minorities such as indigenous Indians are not being recognised. Here that have evolved under the burdens of colonialism and apartheid would diversity is neglected and unity is over emphasised. be as difficult a task as eliminating this complex political driven culture. A task that is made immeasurably improbable if one considers that alliances Free Multiculturalism: The ideal scenario where all cultural groups live in and negotiations have begun to occur across racial divides. (Freuh, 2003) peace. Separate cultures learn how to live with each other, giving and learning from each other. E.g. Switzerland where Germans, French, Despite the fact that we are now, more informed with regard to the role of Italians and other culture groups live in peace. Here there is an acceptance colonialism and apartheid and their impact on the so called homogenous of both unity and diversity. ethnic constituencies, we still find ourselves searching for an individual, ideal identity. We are still in search of an identity that may be expressed The interaction between people from different backgrounds would require socially and politically but also as relevant to us, through the built form. This a willingness within individuals to be exposed to other cultures, but we it must be said is a legacy of a divided history in South Africa. must foster this. Once we have achieved this, a dialogue will ensue that will create understanding, comparisons and the identification of ?Simply put, South African history is a divided history. Clashes over scarce commonalities. Successful multiculturalism discerns the aspects of culture resources, ideology and static interpretations of (ethnic) groups all that do not threaten union, stability or prosperity such as food, holidays, contributed to this. The centralist imposition of identities caused further denI tity and Culture c tin Ar hi ecture 4 C p er: 1ha t ec ion: 1. S t 1 conflict. However in resistance, shared identities developed. Through Our government has recognized this and it is strongly advocated in our resistance against apartheid South Africans shared not only values but constitution, and is a cornerstone in our pursuit for a unitary democratic also daily life strategies and tactics within the social movement they and non racial state. It is state policy to promote growth of a single national partook in (they shared in a mutual economy before that ? even if only identity and to foster loyalty, binding of all South Africans. However the partially). These factors impact on the future.? (Zegeye, 1994: 333) state also recognizes ?the linguistic and cultural diversity of the people and will provide material for free linguistic and cultural development.? (Zegeye, As mentioned, apartheid has had a profound impact on all people, 1994: 337) irrespective of identity, culture or origin. It is worth noting that in the apartheid struggle, South Africans saw the potential in their varied identity The Bill of Rights further states that ?in those states in which ethnic, and used it as a resource in the anti-apartheid movement. They used it to religious or linguistic minorities exist, persons belonging to such minorities band together in a struggle against a common threat. shall not be denied the right, in community with the other members of their group, to enjoy their own culture, to profess and practice their own religion, Culture is not only a matter of music, dance, art and language. It has a or to use their own language.? (Asmal, cited in Zegeye, 1994: 338) profound impact on the life of an individual and is strongly intertwined with However it must be pointed out that in line with the need to learn from each their experiences from day to day. This has lead to people due to their other, the right to association with people of similar beliefs or culture does different backgrounds, thinking about and approaching problems, not allow one to exclude people from participation. Harmony, Sympathy for challenges in different ways. Not necessarily right or wrong but unique to others and commiseration between people of different cultural their line of thinking. The potential here is that when people of different backgrounds must be fostered and provide the basis for sustaining a cultures interact, they have the potential to bring different qualities to the community. table. These beliefs were further promoted by our government with the creation There will always be differences amongst people in South African society. of a Commission for the Promotion and Protection of the Rights of Cultural, How society chooses to confront these differences is of greater Religious and Linguistic Communities. consequence. It is also worth noting that shared history and memory also play a role in an individuals sense of identity. Our memory may and past The primary objective being: success may hold the key for the creation of a platform of interaction and understanding. ?To promote respect for the rights of these communities: to foster and denI tity and Culture c tin Ar hi ecture 5 C p er: 1ha t ec ion: 1. S t 1 develop peace, friendship, humanity, tolerance and national unity among culture, religion and language. The essential concern remains. How does cultural, religious and linguistic communities on the basis of equality, non one find, develop and foster a common homogenous identity in a pluralistic discrimination and free association and to recommend the establishment society? or recognition of a cultural or other council(s) for a community(s) in South Africa? (Zegeye, 1994: 337) Apartheid, throughout its course, from rise to fall has captured the attention of a global audience, making it a global issue. Through the atrocities of This community was tasked asked to ?monitor, investigate, research, apartheid (and indeed colonialism before), Many South Africans have had educate, lobby, advise and report? on the Status of cultural interaction to fight to preserve their identities, an aspect that is integral to who they are. within the South African community. In terms of the South African climate This constant struggle over a prolonged period has undoubtedly today, one wonders if our society is capable of treating all its members as manifested itself within the individual, creating stereotypes which have equals, at the same time recognise the various specific cultural identities. limited their choices. The answer would be yes if culture is defined as the 'common core of ?South Africa was a large society whose most conspicuous foundations humanity' and 'practices that all human beings engage in.' (Alexander cited consisted of an extraordinary arrangement of collective identities. Racial in Zegeye, 1994:342). We must ensure that South African culture is a identities extensively developed and formally defined, relentlessly reflection of the multitude of beliefs and philosophies and acceptance imposed, notoriously instrumental in distributing privilege of all sorts, between them. The cultivation of humanity and tolerance along these lines passionately defended at home, and overwhelmingly deplored will allow culture to play a decisive role in our democracy and promote the everywhere else in the world. Foundations crumbled when large numbers aims of the constitution in fostering a single political community that is of ordinary people rejected the identity labels that others had assigned contributed to and strengthened by all cultural communities. them.? (Onuf cited Freuh, 2003: 17) South African Identity has been the subject of much debate. It is the aim of In pursuit of this common ideal, are we not dispensing with or at the very this dissertation to, through architecture; understand whether this generic least disregarding the richness and diversity that is South Africa? identity is attainable. Or is it an idealistic notion. If it is attainable, is it desirable? Colonial and Apartheid norms resulted in the destruction of indigenous identities, but it also led to the transplantation of identities from foreign As defined, Identity is borne of a multitude of variables, including history, countries. The search for a new identity and a social reconciliation, in this denI tity and Culture c tin Ar hi ecture 6 C p er: 1ha t ec ion: 1. S t 2 context it may be argued are appropriate within the aftermath of decades of discussion within a certain format, to set parameters to the range of the imposed segregation. But is this a fitting solution to heterogeneous culture contents. Therefore the findings of the research in this document are borne that is our New South Africa? of recognition by the author of the Marxist Ideology that states that architecture is highly reflective of the society that produces it be it As long as humans have built, they have created a record of the very politically, socially and in most other respects. (Davids, 2006: 4) principles that have guided their hands. Our public buildings, be it museums, parliament buildings, trade centers, places of religion; they are Our built form therefore may be seen as an historical text or documentation inscribed with clues to an identity. Through their built form humans have that one may use as a basis and a platform to understand society in its established a reference both in time and space. It is within these types of current state. Built form is in accordance to the theory of existentialism architecture that the theoretical framework of this thesis aims to find the intrinsically linked to the human context, a symbiotic relationship between link between identity, culture and architecture. The findings that unfold the built form and its creator. However, the context of this study is within through each chapter are linked together on the basis that they all, in that of post apartheid South Africa and interpretations of architecture within different ways play a role in shaping society, our identities and the this context is also of relevance and will have to be referred to. Therefore it perception of the ?other.? is necessary within the context of this document to understand how identity has been expressed through architecture by review of precedent. The 1.2) Research Methodology precedent range in scale and include both local and international work. Though this dissertation is specific to the study of architecture and identity, In the pursuit of guiding principles for the design of a South African Indian within the context of Durban, it is pertinent to understand that these issues Institute of trade and cultural relations, this thesis will draw from a range of have been and will explored by many other societies across the world. concepts and theoretical frameworks. This may be justified by the diverse nature of the accommodation schedule. However this occurs only in the This discussion will investigate and attempt to contribute to the creation of attempt of including aspects that are deemed appropriate. This a national identity through architectural expression in a free and dissertation therefore is a varied collection of related ideas centering on democratic South Africa. The solution may potentially be in the notion that the relevance of culture, identity and the memory thereof through no one particular style, order or identity is sufficient in reflecting the architecture. diversity of South Africa. We may find clues in examining the transformation and development of South African architectural expression It is however, necessary in any discussion of this nature to ground the and its emphasis on identity. denI tity and Culture c tin Ar hi ecture 7 C p er: 1ha t Sec i : 3 5 t on 1. /4/ 1.3) Architectural Research Questions: 1.5) The Proposed Building: 1) Can identity be reflected through the built form? At the beginning of this year, when one had to make the important decision 2) Is architecture an appropriate avenue of expression of an identity? of choosing a Thesis Topic, the most common advice given was to choose It is perhaps clearer to creators of the built environment, that it is an a topic that is of interest to you. In heeding this advice, I chose to try and appropriate means of expression. How does one take into account public answer the question of what it means to be an Indian in South Africa. How perceptions of identity. is it different to being Indian? Upon questioning elder member of the family, 3) Can perceptions and reflections in architecture express identity? it was immediately noticeable that though they had stronger ties to India Like society, architecture is constantly undergoing transformation. It is than me (my Grand Parents were born in India), there was still a part of therefore necessary to assess how architecture reflects this them that was tied to the land that they served throughout their working transformation. lives, South Africa. They arrived at a time when the country was still not in 4) How has identity been influential in influencing or affecting a society? the grips of Apartheid and through their experience one may gain an insight Apartheid has had severe effects on the social structure of the South into the atrocities that were carried out, from beginning to end. African people. Architecture can help to eradicate the effects of apartheid on our built environment and promote the development of community Post apartheid South Africa is still coming to terms with this. It is worth structures. documenting the history of this country through the various faces, identities and even spaces. Everyone who lives through such periods will 1.4) Hypothesis: remember and respond differently to such appalling occurrences. There are many more Indians whose South African links may be traced back to To what extent can architecture be considered to be a reflection of its the days of Colonialism. (Appendix A) Indians therefore, in this country community and individual identity? have ties to this country, a memory of an identity that through its documentation may help Indians of the modern generation (such as The built form may be seen as a reflection of the identity of its inhabitants myself) understand who they are. It may inform them as to what makes and the society it serves. It may also serve as a platform across which them Indian, but also appreciate the South African in themselves, people of different origins may through the celebration of difference find (Appendix D) a part of their Identity that has been suppressed. In similarities and common grounds for interaction. documenting South African Indian history one will undoubtedly touch upon the major events such as Apartheid and Colonialism. In doing so it will denI tity and Culture c tin Ar hi ecture 8 C p er: 1ha t Se tion: 1.4/5 c assist other member of the Diverse South African Community an as a response to the need to collate fragmented and undocumented pieces understanding that South African Indians are as much tied to this land as of South African history which are currently hidden away in storage themselves and that they fought for the same rights alongside each other. facilities within one centre. In doing so it creates grounds for interactions between the different identities and cultures so that we may continue to work together for a better India and South Africa have a History that has been intertwined since both South Africa. countries were part of the British Colony. This relationship continued throughout history to the very end of Apartheid with India being South Initially the proposal was for a South African Indian Museum. (Appendix B) Africa's strongest Allies. (Appendix A) South Africa post Apartheid finds As such this document began with a study of the concept of the museum itself in the position where it needs to renew ties with the world in terms of internationally with focus on the holocaust which was like apartheid the trade and tourism. In establishing links with India which is said to be an suppression of people through an attack on their culture and identity. The emerging Economic leader will be of undoubted benefit to South Africa's museum as type also allowed one to begin to understand the role that cause. Architecture may play in the documentation and indeed celebration of an cultural identity through memory. An analysis of museums also provided an As such the thesis began to elaborate on identity on a national level, how it insight as to how the built form itself is a documentation of history. It also has been built within South Africa on tracked the evolution of the very first museums which were reserved for the a national level and how this may be British Elite to museums today which serve as more than just private seen in the Built Form. It also storage containers. They serve as sources of community pride and centers attempts to understand the link of meeting and activity. The analysis of Post Apartheid Museums gave between identity and trade. Trade it insight into how this has been applied to unique contexts differently. As may be argued is the vessel through such the proposed Indian South African Museum was expanded to include which different identities have a trade center specifically aimed at trade growth and increased interaction interacted throughout the years. As between India and South Africa, including interaction at grass roots level. such it is through trade that cultures (Appendix C) In doing so the museum may further expand its reach and have grown and developed together. Today's globalised world has led to potential to the benefit of all South Africans. A community centre was also increased trade and therefore increased hybridization of cultures. added to the brief. The community centre was seen as a space where Architecture in being part of the everyday is also an aspect of a peoples people may take classes in dance, yoga, languages, Indian art etc and culture that has been transformed due to interactions with other identities. meet people with similar interests. It also includes a library which was seen An attempt at understanding this hybridization of architecture was seen as (www.google.com) denI tity and Culture c tin Ar hi ecture 9 C p er: 1ha t ec ion: 1. S t 6 a step towards understanding how the trade center through its design could Durban will gain from the venture along similar lines, also it will gain facilitate and encourage the interaction between these two countries. international exposure as a destination for both trade and tourism, thereby boosting city coffers, and creating employment opportunities in the city. In the search for a site, it was decided early on that Durban would be the city The project fits into the investment criteria that the municipality have of intervention. It is tied to the history of the Indian People as it is the city that created for the investment of R300 million over the next 5 years in welcomed them to South Africa on arrival. Today it is still home to the infrastructure in and around the Durban Point development area. largest South African Indian Population in South Africa. It is also a city that ties South Africa to India. The city of Durban itself was founded on the basis Investing into the scheme by the Point Development which is currently of being on route to India from Europe. It is therefore even today, due to its perceived as an elitist development will show a commitment to creating a geographic position, South Africa's busiest port and the city best positioned development which is accessible and socially friendly to all people and to continue a trade dialogue between South Africa and India. help the scheme to create meaningful interactions with the rest of the city. The scheme has the potential to play a role in the revitalisation of the point 1.6 Feasibility and Viability area and the inner city. The benefits of such a scheme would far outweigh construction costs and represents an excellent opportunity for the parties It is felt that the funding of the project will be provided via a joint concerned. collaboration of Government departments both at a national level and a local level. The national departments would include the Department of trade and commerce, arts and culture and foreign affairs in collaboration with local beneficiaries of the scheme such as Durban e Thekwini Municipality and the Point Development Company. Investment by the governmental departments would be justified due to the fact that this building will be instrumental in the generation of foreign capital and the propulsion of South African trade efforts with an emerging powerful economy. All governmental departments would work hand in hand with their Indian counterparts who will find the scheme to their benefit along similar guidelines. Fig 11 Logo Ethekwin i Munic ipa l i ty (www.durban.gov.za) Fig 12 Logo Point Development (www.pointdevelopment .co.za) denI tity and Culture c tin Ar hi ecture 10 C p er: 1ha t ec ion: 1. S t 7 1.7) Objectives: Aims of the Indian Institute of Trade and Cultural Relations: To act as a shop front to parties interested in trade with India. ?To showcase potential trade opportunities in India. ?Provision of exhibition space for trade fairs etc. ?Provision of conference facilities. To act as the first point of contact of Indian traders in Durban. ?Establishment of trade links & to gain knowledge of the SA market. ?To provide information on trade potential in Durban. ?To act as a trade resource centre and conference facility. ?To develop understanding of statutory requirements of South African trade organizations on quality standardisation. To act as a meeting place for importers, wholesalers, manufacturers to interact and develop contacts. ?To promote independent relevant research on common areas of interest/ problems within a framework of advance technical research. ?To explore potential for joint ventures and investment for projects benefitting both South Africa and India. ?Hosting of workshops and classes as a means of transferring Indian knowledge on skilled labour, arts and craft etc. to South African people. ?Exchange of methods of creating labour intensive industries and the management thereof. ?The creation of revenue generation initiatives for people. To expose visitors and locals to the history of Indians in Durban ?Showcasing of permanent exhibitions to South African Indian life. ?Temporary exhibitions to capture the current climate. ?The hosting of cultural classes i.e. languages, dance, religion etc. denI tity and Culture c tin Ar hi ecture 11 C p er: 1ha t ec ion: 1. S t 8 The following schedule is derived in response to the need to identify the requirements of the propsed building. The shedule is divided along the three identified facilities provided. These being the South African Indian Museum, the trade centre and the community centre. General Facilties that will be shared amongst the three activity centres have also been included. ACCOMMODATION SCHEDULE Accommodation Description Area (sqm) South African Indian Museum: Orientation Gallery Temporary Exhibition Space Permanent Exhibition Space Audio/ Visual Centre Multimedia Galleries Documentation and Archives Administration Coffee & Museum Shop + Services Ablution Blocks Sub Total: Trade Centre: Foyer Exhibition Space Conference Centre General Information and introduction as to what one may expect. Exhibits on a rotational basis, as per exchange with other local, national, international venues, educational institutions and organisations. Historical and contemporary exhibitions, that are periodically updated Public access to research material and online information through interactive display formats. Stepped area for digital projection, films, music etc. Storage of relics in humidity controlled environment with space saver sliding shelves. Original documents in acid free mylar containers. General management of building. Culmination of Museum Journey overlooking the waterfront. As per NBR. Male, female, disabled. Facilitation and orientation area. Flexible exhibition spaces and trade areas for the display of goods and exhibitions pertinent to information on trade between South Africa and India. Venue for the hosting of public, private, corporate conferences, workshops & seminars. 300 680 890 100 240 230 100 120 75 2735 90 660 400 1.8) Accommodation Schedule denI tity and Culture c tin Ar hi ecture 12 C p er: 1ha t ec ion: 1. S t 8 Trade Resources Centre Caf?/ Coffee Shop + Services Administration Facilities Private Offices and Showrooms for: - Chamber of Commerce Agent - Import & Export Agent - Shipping Companies Agent Cultural Agency Showroom/ Office Ablutions Sub Total: Community Centre: Foyer Class Rooms Dance Studios Change Rooms Public Library Administration Facilities Ablutions Sub Total: General Facilities: Retail Colonade Storage Facilities Telecommuncations, computers and other multi media facilities accessible to traders and exhibitors. Adjacent to foyer, exhibition area, conference facilities. General Management of Trade centre. Showrooms with street frontage & offices directly accessible from exhibition area for private companies. Agency tasked with the management and facilitation of interaction between artisans in South Africa and India. Facilitation and implementation of seminars, workshops etc. As per NBR. Male, female, disabled. Entrance to community centre. For the hosting of language classes, cooking classes etc. For the hosting of dance classes, yoga classes etc. for users of dance studios, yoga classes etc. Collated Public archive of South African Indian history, culture, heritage etc. General Management of community centre facilities. As per NBR. Male, female, disabled. Retail aimed at emerging & cultural Industries e.g.fashion, decor, craft, jewellery, art etc. Lock Up stores for maintenance/ delivery/ exhibits. 130 120 300 100 75 1875 60 180 180 50 380 180 50 1080 400 300 denI tity and Culture c tin Ar hi ecture 13 C p er: 1ha t ec ion: 1. S t 8 Electric Sub Station Maintenance Rooms Loading/ Service Yards Power/ Telkom/ Data Sub Total: Initial Total: 10% Circulation Total: Total Parking Bays: Transformer, close to boundary. General Maintenance room/ Future A/C Plant. Refuse yards, Shared yard for deliveries and maintenance and refrigerated store. Managed and maintained by tenants. Power Supply, telephone and data lines and associated switch gear. In accordance with Point Development Agency Guidelines. 40 40 150 20 950 3905 391 4296 min. 70 Parking Bays denI tity and Culture c tin Ar hi ecture 14 C p er: 1ha t ec ion: 1. S t 9 1.9) Chapter Outline: Apartheid South Africa. It examines relevant case studies that show how the museum as architecture may serve to reestablish the identity of a Chapter One: Introduction community or people. This chapter is the introduction to the thesis and states the intended areas Chapter Five: Globalisation and Regionalism in Architecture of research and analysis. This chapter serves as a theoretical prologue to chapters six and seven. It Chapter Two: Place of Intervention begins with an analysis of the processes of Globalisation and its effect on Identity. Regionalism in Architecture is then discussed as a possible As discussed in Chapter One, the area of intervention for this Dissertation architecturally relevant response to the globalised world of today through is the city of Durban. This chapter aims to provide an analysis of the area, the theoretical viewpoints of relevant architectural critics. which will inform the site precinct and then the actual site. An analysis of the site and its relation to its micro and macro context is then carried out. This is followed by an analysis of the theories of Symbiosis which offers clues as to how we may find innovative way of interpreting culture in Chapter Three: Monument Memory and Architecture today's climate. It is not unsimilar to the theories proposed in the preceding discussion, but Symbiosis is deemed more relevant simply due to the fact This chapter marks the beginning of the theoretical discourse of the thesis. that it has been developed more recently and may therefore assist offer It discusses the concept of memory in architecture on an international additional relevant information. scale. This is linked to the concept of identity in that memory is integral to the understanding of one's culture and therefore identity. It is also relevant Chapter Six: Indian Architecture in terms of the design of the South African Indian Museum which forms a part of the Brief for the proposed building. Indian architecture was analysed for the reason that it may provide clues as to how one may go about representing the Indian culture in a Chapter Four: South African Memory contemporary world through the built form. Though the author is of the opinion that the South African Indian is very much a South African, they are This chapter serves to further analyse the link between memory and still tied to India by certain aspects of identity. Religion is identified as one identity by continuing the discussion of chapter 3 in the context of Post such factor. Indian Contemporary Architecture allows us an insight into denI tity and Culture c tin Ar hi ecture 15 C p er: 1ha t ec ion: 1. S t 9 how Indian Architects have reinterpreted their rich history in contemporary As such this section attempts to find similar areas that may be seen as ways in accordance with the Indian today. As such this chapter aims to find points of departure to depicting the South African element that is so crucial conceptual generators that may be used in the design of the South African to the makeup of the Indian South African. In doing so the building may pick Indian Institute. up on areas that though of significance to the South African Indian, may have dual meaning and allow for interpretation by fellow South Africans. Chapter Seven: South African Indian Architecture Chapter Eight: Identity and Culture as tools of Trade and Politics Within the Introduction it is stated that Indian South African Identity is made up of several factors (as are all identities). The Indian essence is alluded to This chapter is intended to cover the concept of trade and politics in in Chapter Six. The other major element in the makeup of the Indian South architecture. Trade and Politics may also be defined as intrinsic to the African is the last 150 years of South African history. This chapter aims to Identity of an individual, a group or even a national identity. It analyses how through architecture find buildings and urban precincts that are of architecture may be used to portray ideals of identity, and in doing so may significance to the South African Indian and as such are identity markers to become symbols of a perceived National Identity. The discussion is taken South African Roots. Religious buildings have been used due to the fact further by understanding how a National Identity may be constructed to that they represent the only type of 'Indian Architecture' that was imported represent a multi cultural nation, and the role of the urban fabric in this with Indentured Indians. As such it allows for a discussion into how this ideal. This study is of relevance to the dissertation in that it may inform the architectural typology has evolved into something uniquely South African conceptual derivation for the design of the trade centre. It may offer clues purely in response to a new context. as to how a building that is to serve as a platform for interaction by different people may be designed to offer transparency. The building itself will need In the analysis of museums, the Jewish Museum in Berlin was analysed to portray a certain image. and it is understood how the building uses the star of David as well as points of significance (the address of members of the public who played a Chapter Nine: Conclusions and Recommendations role in assisting holocaust victims, both Jewish and Non Jewish) in the city of Berlin as a generator of the plan. The architecture does not only pay This chapter serves to conclude the theoretical discourse of the thesis. homage to Jews but makes a comment on their role as part of Berlin, and allows for interpretation by other non Jewish Germans. Chapter Ten: Design Report denI tity and Culture c tin Ar hi ecture 16 C p er: 1ha t ec ion: 1. S t 9 The report intends to track the evolution of the Proposed building and the application of conceptual and theoretical influences as derived from the theoretical discourse. Chapter Eleven: Technical and Environmental Report Due to the proximity of the chosen site to the sea, the building will have to adapt technology that is relevant to the harsh climate the sits offers. This section aims to analyse how this may be done. Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relation Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural CP OLA FE N E T OI V N I NR ET C H A P T E R 2 71 = 1eyK = 3 = 2 p o in t d e v e lo p m e n t ic c p re c in c t c a to m a n o r v ic to ri a e m b a n k m e n t d u rb a n c b d c h a ts w o rt h factors infrastructure e.g. transport market e.g. investors, tourism orientation e.g. environ, views exposure e.g. visual, access aesthetic e.g topography urban context e.g. need, zoning threats e.g. traffic, pollution public e.g. attraction, interest historical significance e.g. heritage image e.g. character, identity diversity e.g activity, context total: point cbdicc cato chats victoria 32 26 25 23 21 20 Six preliminary urban quarters were selected within the city of Durban as displayed within the table below. These urban quarters were then subjected to a comparison to each other. The quarters were evaluated using a set criteria thus allowing one to gain an understanding of the advantages and disadvantages of each quarter. The selection criteria was based using a selection of various factors that would be influential on the selection of the urban quarter. Each urban quarter was given a rating under each of the listed categories. The total score allowed one an understanding of how appropriate each quarter would be in relation to the proposed building. The top two quarters were chosen for further analysis. These being the ICC Precinct within the Durban CBD and the Point area which is adjacent to the harbour mouth. 2.1) Site Precinct Selecion Site Alternatives & Selection Table den d u trI tity an C l u e A c tec in r hi ture 18 Chapter: 2 i : Sect on 2.1 integral to the City of Durban. The Golden Mile terminates on the northern edge of the precinct. It is at this spot that the U Shaka Marine World was Option # One - The ICC Precinct built. The eastern edge is the edge of the working harbour. As such the The ICC Precinct offers good point are offers opportunities both in terms of cultural tourism but also in accessibility due to the fact terms of trade and industry. Throughout its history the area has always held that it is within walking a special appeal and attraction to the people of the city. Sometimes in distance from the CBD. The controversial circumstances. quarter is also centrally located and is thus well It is also seen as a place of arrival and departure, and is the ideal place connected in terms of where one may enjoy Durban?s subtropical climate and setting. It offers transport routes both into panoramic views to the rest of the city as well as Durban?s rich natural central Durban but also in environment. terms of public transport to the South and North of The area is after a period of deterioration, is currently under development Durban. Due to the existing to be marked as one of Durban?s premier destinations and as such an facilities the precinct is investment opportunity. The point precinct is currently fragmented from the frequented by tourist as well as local and international delegates and Durban CBD. business people. As such it may be regarded as a precinct that has taken advantage of its potential and is a valuable asset to the city of Durban. With the Point redevelopment well under way, concerns have been However due to its success and with due consideration of the thesis express about the lack of commemoration to the heritage of the Point Area. proposal it was decided that an intervention of this nature would be The Proposed intervention has the potential to be part of an overall redundant. It would seem that it would be fulfilling similar functions as to the proposal to respond to this notion. existing facilities. As such there is no real need for a venture of the proposed nature. As such the Point precinct was chosen as the proposed intervention would play a significant role within the area. The area is also ideal in terms of its Option # 2 - The Point rich context. In terms of the programme, the area is of significance to the Precinct South African Indians and is in close proximity to the working harbour which is integral to the success of the proposed trade centre. The Point Precinct is of historical significance to the people of Durban. It is widely regarded to be the birth place of the city. The area is seen as the converging point of two different economies, both uShaka marine world ICC extension touris t junc oi nt centrum exhibition centre icc muse um g/ allery Site Precinct Selecion den d u trI tity an C l u e A c tec in r hi ture 19 Chapter: 2 i : Sect on 2.1 Durban was given its name with the arrival of European settlers in 1835. The Point established Durban's beginnings as a port city. The point served Point in History: as the primary function for Durban in housing its shipping industry. Shipping was the dominant trade up until the 19th century. The point ?Natal may be known by a huge served as a beginning from which everything developed, and played a vital point of rock; three round little hills role in Durban's development, growth and change. The area underwent are to be seen about it; and one rapid transformation with the influx of settlers and increased trade, thus league beyond it. To the north ease, ensuring its status as one of the busiest sea ports in Southern Africa at the there is a wood which reaches the time. (www.durban.gov.za) sea.? Portuguese navigator Manuel Perestrello,1554. The area contained many harbor service industries but also displayed a (Source: Point Development variety of other land uses. The point area may have been described as a Company) self sufficient town at the time, having port functions, commerce, offices, warehouses, and hotels along with a police station, fire station, water The landmarks mentioned refer to police, prison, tram service and terminus, ferry service, hospital, cemetery, the Point Area and the Bluff across electrical generating station, sewerage and sand pumping stations. At the the harbor, which are landmarks height of its prominence, the point area served as the life source for the city that are still highly visible to this of Durban. Unfortunately, the movement of the port activities to Maydon day. Wharf and with the outbreak of plague the Point area fell from grace and was abandoned. The Point boasts significant historical significances as it is the birthplace of the city of Durban. It has played host to a number of historic occasions, such as the arrival of Vasco de Gama in 1947. It was used by the Dutch East India company as a fortified supply station in the early 18th century. It is also recognised as the starting point of the epic journey made by Dick King. It also serves as a place of significance to the Indian people of Durban, as it marks the site where Indians first arrived in Durban in 1860 at Bamboo Square. vasco da gama clock on point road, erected 1877 (source: point development passenger liner wharf, 1904 (source: point development company) 2.2) Point Area Analysis: king george VI battery site (source: thirsty?s) sailing ships at the bustling port, 1893 (source: point development company) den d u trI tity an C l u e A c tec in r hi ture 20 Chapter: 2 i : Sect on 2.2 2.3) Point in the present: dynamic. Due to this it is also potentially equally attractive to both tourists and Despite the status of the area at present, locals. The prominence of the point area, the point remains one of Durban most gives it the potential of being both a significant historical and significant destination in itself and a gateway to urban precincts. Due to it's location, Durban. Due to its close ties to the cities being at the tip of Durban it offers edge and also the water's edge, it has the unparalleled views into the city, the ability to become a showcase to Durban's ocean, the harbour mouth, the greater regional identity. A microorganism, where bay area as well as the green strip across people may experience the true spirit of the harbour known as the bluff. Durban as a port city. Despite the fact that the point is The point acts as a gateway to ships intrinsically linked to both the city but also entering Durban via the Indian Ocean to other continents, places and cultures, and as a destination as one makes their the point of today remains an isolated way through the city of Durban. Within quarter and has severed ties to the rest of the greater macro urban context, the the city.point area acts as an area of transition between the city and the harbour and a Once the very pulse of the city, it has threshold between the city fabric and the become a sleazy area of decay. The area natural environment. The point area is today, is on the verge of undergoing yet also due to its location, a meeting point another transformation and a much between the working harbour and the needed regeneration. It is vital that this tourism industries. This sense of rebirth reflects on the city's history and convergence creates a dialogue of past, diversity and draws inspiration from its present and future conveying a sense of heritage. It must bear relevance to the historical continuity. It is a place where national and international potential of its one may view the change and evolution marketability as a waterfront of of Durban into a contemporary city. international standard. A vital cog in the tourist industry of Durban both as a resource and an attraction. This concept of time is further emphasised by changing land use patterns and movement through the port. This has led to the area being a platform to recreation, entertainment and maritime activity. This is a combination that marks the area as evolving and millenium tower and harbour entrance (source: author) popular recreation and entertainment spot (source: author) escombe terrace (source: author) unfolding serial views along point road (source: author) new canal, dilapidated shed, and bluff (source: author) harbour / maydon wharf from point (source: author) from garrison to restaurant (source: author) escombe terrace with memorial tower building in background (source: author) den d u trI tity an C l u e A c tec in r hi ture 21 Chapter: 2 i : Sect on 2.3 2.4) Point to the future: growing economy and addressing the needs of the people and creating a city that they can be proud of. The point project aims to reunite the CBD ?What makes a great city and a with the water's edge. This is intended to upgrade the derelict point with the city that people want to visit, live city and at the same time attracting the consumer back into the city by and work in? The CBD needs to creating a cultural arena for tourists and locals alike. have a combination of a public and civic orientated core linked ??The overriding philosophy for the Point Waterfront is to regenerate the to a public and more city centre of Durban through the reestablishment of the Point as one of recreational set of edges. Durban's most historic and significant urban quarters. It will be a 'total' Those opportunities are in the urban environment which has its own particular quality and 'sense of place' city at the moment, given that it within the Durban city centre.? (Source: Proposed Special Zone 91- Point has multiple waterfronts, a river Waterfront) frontage in the north which has not been exploited adequately, The Point Redevelopment into a global working port is part of an overall a beachfront which has been scheme to upgrade the city. Work has already begun in the city to upgrade developed and is heavily it. Aliwal and West Street have had avenues of palm trees added as well as utilised, and a bat frontage with intricate mosaic work to make it more pedestrian friendly. The upgrade of which the city has not really Wilson's Warf is initiating a revival of the esplanade as well. There are connected. These are great proposals in the pipeline for a mono rail linking the ICC, Hilton Hotel, Kings assets and universally are Park to the Point area. A Unity Bridge is proposed which will unite the enormous attractions to people Durban Harbour with the Southern Industrial Basin, and proposed ferries and development. This potential which will make the Bluff more accessible and carrying passengers to a has not been mined.? (Source: series of proposed festival markets, restaurants and entertainment Inner City Development venues. Framework Plan) Over the last two years the proposed development of the point area The point lay virtually deserted has steadily increased in momentum. As such, it cannot be for nearly thirty years, but is now disregarded within the context of this thesis. The proposal may be part of an ambitious project to considered a reality that will surely play a role in changing the image revitalize inner city through the of the city of Durban. Therefore the greater urban plan proposed for reestablishment of the point as the development will be adapted for this thesis proposal. one of Durban's most historic and significant urban quarters, with its own particular quality and sense of place. The point waterfront project, is one of the most interesting developments in the area. With almost R800 million being invested it represents the Municipalities determination to recreate Durban as Africa's most livable city by 2020. The vision will be achieved on the back of a artists? impressions of the regenerated Point (source: point development company) den d u trI tity an C l u e A c tec in r hi ture 22 Chapter: 2 i : Sect on 2.4 2.5) Point Timeline pre 1497 - Named Ulungulu by early inhabitants 1497 - ?discovered? by Portugal's Vasco da Gama and named Ponto de Pescaria 1500s - Portuguese trading activity increased and expanded, included iron, beads and copper, 1600s - Small trading vessels frequently visited the Bay 1721 - Established temporary fortified Dutch Trading Station 1824 - Decision to establish permanent trading post 1826 - Farewell commenced building a fort near the harbour entrance that was never completed 1828 - Ship-building began 1834 - The town was named D'Urban, after Sir Benjamin D'Urban 1840 - Central streets of the town laid out 1847 - Blockhouse constructed from concrete, stone, lime, gravel and brick 1856 - First Port Natal registered vessel completed 1860 - Arrival of indentured labourers from India to work on sugar cane estates - South Africa's first railway was built, which linked the town to the harbour at the Point in less than 2km distance 1880s - Breakwaters built and channel between them constantly re-dredged to realize the natural harbour's full potential 1890s - Rapid development of Point docks 1891 - Extended Natal railway system from the Point to the Transvaal border over a distance of 400km 1897 - First electric lighting in celebration of Queen Victoria?s Diamond Jubillee 1899 - Salisbury Island used as a timber wharf 1902 - First electric tram 1903 - Bubonic plague 1904 - Maydon Wharf completed 1907 - Coal facility on Bluff side of the Bay completed 1914-1918 - Oil facilities completed 1925 - Dry docks built 1940 - Port activity moved to Maydon Wharf 1960s - Passenger terminal built 1977 - Container facilities built 1980 - Total abandonment and decay 1998 - Car terminal built, recently extended 2003 - Point Development underway 2007 - Point Development still in Proccess den d u trI tity an C l u e A c tec in r hi ture 23 Chapter: 2 i : Sect on 2.5 2.6) Waterfront Development: ?Activities happen on both the water and land elements. ?One can view entities come and go. There could be boats coming in or going out, fishermen bringing in their catch, it is not necessarily known what will be seen on arrival at the waterfront but one can be guaranteed that there will be something interesting happening. ?Derives its identity from the activities that happen on the water as well as the land element. In achieving the above, one creates a waterfront that becomes a destination within the city fabric with a 'sense of place.' It is the authors opinion as deduced from the above that all waterfronts should place emphasis on the opportunities that present themselves at the threshold where land meets water. Marshall states that: ?The visibility of these sites means that the waterfront becomes the stage ?Water not only provides a basis for man's existence and a continuous challenge to secure its use, but it is a source of metaphysical symbolism aesthetic pleasure and therapeutic value? (Wylson, 1986:13) It was only in the 1980's that cities around the world began to realise that the allocation of capital in revitalizing their waterfronts would be of benefit not only to the waterfront area, but to the city as a whole. (Torre, 1989) Since then, numerous examples around the world have shown how the concept of the waterfront has been an integral component in the revitalization of cities. Many cities have recently attributed growth in tourism and trade to the success of renewed waterfronts. The aim of this discussion is to assess what constitutes a good waterfront. What gives the waterfront the ability to draw people to its edge and to keep them coming back again? The second function of this discussion is to assist in the choice of a site within the Point precinct. Conducive research has been carried out on several waterfronts in order to answer the question posed above. As such the following factors were deemed to be essential characteristics to the success of the waterfront: ?There are a number of activities that take place where the water meets the land. upon which the most important pieces are set. In doing so, the waterfront is an expression of what we are as a culture.? (Marshall, 2001:4). Sydney Opera House synonymous with one of the worlds most successful waterfronts in the World Sydney Harbour (Rambhoros M.) Baltimore Inner Harbour - One of Americas most successful waterfront revitalization developments. (Breen&Rigby:1994,58) den d u trI tity an C l u e A c tec in r hi ture 24 Chapter: 2 i : Sect on 2.6 This point is highly relevant within South Africa which still bears the scars of contained environment. In incorporating residential components, it is a turbulent history. Apartheid was a system which enhanced the lives of a ensured that there is constant activity and also informal surveillance. This minority to the detriment and exclusion of the majority. Urban planners and aims to increase safety levels and thus the overall public perception of the developers should always keep in mind that it is the built form that has the area. ability to ensure that it contributes to the quality of life of all its citizens. It is our public spaces that must acts as place of meeting for communities, ?A Mixed-Use development is a term used in the United States to describe identities and cultures who have a history categorised by separation lack of a complex of buildings embodying three or more revenue producing and tolerance and understanding. The Point Urban redevelopment, in principle mutually supporting components such as retail, office and residential aims to do this. The Point waterfront has great potential in? including hotel uses. These components are integrated and interconnected by spaces and pedestrian ways permitting short term ?Creating a unique 'waterfront city within a city' in which a system of canals development in accordance with an overall plan.? (Saulick 2002:13) forms the central spine of urban redevelopment and where the economic As such the principles of the urban scheme, aim to revitalize the point area benefits of water frontage extend throughout the area? through the high intensity and variety of activities that aims to create a (www.durbanpoint.co.za). pedestrian friendly urban precinct. The waterfront represents Durban's most vital source of income. It is also According to Saulick ?although mixed-use developments are self-to the waterfront that the city of Durban may look to for further growth and contained in concept if linked to other downtown developments by development. In reviewing the proposed urban redevelopment one must pedestrian ways, they become part of the whole exciting heart of the city.? ask if it is geared towards the fulfilling of the obvious potential a (Saulick 2002:13)development like this could have. This linkage can then act as a catalyst to revitalizing the peripheral area The Point development is essentially based on the principles of being a around the development. In the case of the point development it is hoped mixed used precinct. This concept is successful in that it ensures, through that it will also attribute to a revitalisation of the Durban CBD.its live/ work ideal that the development will be in use throughout the day. It is the however the opinion of Schoonraad that:By providing a mixture of activities, the concept attempts to provide a mixture of activities that would be able to draw different people. It allows for ?Unfortunately most new developments perpetuate the spatial pattern that the revitalizing of degenerated areas due to the fact that it creates a self has made South African cities some of the most inefficient and unjust in the den d u trI tity an C l u e A c tec in r hi ture 25 Chapter: 2 i : Sect on 2.6 world.? (Schoonraad, 2002:44) based on the use of public transport is essential in order to address inequalities of the past? (Schoonraad, 2002:44). Is it possible that the Point redevelopment is to suffer the same faith despite the lofty ambitions or well intentions of the developers? Mixed use precincts such as the Melrose Arch scheme in Johannesburg or the Gateway Schem in Durban of a similar nature, thought their 'compact', Anyone with Durban and its people's interest at heart would hope not. 24-hour active city in which people can live, work and play aim to do just Upon closer analysis, one may come to the conclusion that it is not highly what is quoted above. These precincts are based on clearly defined mixed- unlikely that the Point area may very well be on the verge of becoming an use connectivity, integrated open-street systems connecting well defined exclusive development. Like Melrose Arch which Schoonraad sites as a public and private domains. new elitism, the Point Area is funded on what can only be described as astronomical high priced rentals and apartments. Amounts of money that The reality though is that these developments fail in their attempts to only the very privileged few may afford. It may be argued that without this create viable alternative urban environments. In the case of the Melrose vital source of income, the scheme would fall flat. Fair enough, but what Arch for example, one cannot doubt the quality of the buildings individually. about the people who can't afford to work or live within the development. The development itself though ?is not a real city, as it excludes all but the Are they not excluded? very rich. According to the developers, it aims to create a safe environment for highly educated, high-income earners in order to Schoonraad offers clues to how we may approach this when she states: encourage them to remain in South Africa. Not quite the ?rich diversity? that 'City Building is serious business, especially in South Africa where the was expected from the original descriptions of the project which had need to build integrated, sustainable , compact and mixed use cities intended incorporating small businesses.?(Schoonraad, 2002:44) Plate 13 Melrose Arch, Aesthetically appealing architecture based on the principles of mixed-use development. (Author) den d u trI tity an C l u e A c tec in r hi ture 26 Chapter: 2 i : Sect on 2.6 The Melrose arch development intention was to create pedestrian (Posner cited Breen, 1994: 23). orientated spaces. A very noble intention but one must also consider that the scheme works on the transport system aimed primarily at private Waterfronts by their very nature are undeniably guided by the underlying transport. ?This is artificial, as it does not provide access for the thousands determinants of geography and location. Any amount of planning is only of South Africans who do not own cars, but creates a pleasant environment paramount to the manipulation of existing natural resources to the mutual for those who do? (Schoonraad, 2002:44) benefit of everyone. Successful waterfronts are mostly within a short distance of the CBD or at the very least connected with a competent public The Point Development currently under construction appears to be transport system. This is key to the success of the waterfront but it is often following the very same trajectory as the Melrose Arch development in that overlooked. Often attempts are made to emulate the CBD as opposed to it may be considered to be an elitist environment. complimenting it, the implementation of the mixed use principle in constructing a 24 hour lifestyle within a precinct essentially creates a city From the discussion above, we have established thus far that: within a city. The author is not proposing that the proposal contains no amenities aimed at the soon to be Point community. At the same time, the ?The actual Waterfront is a rich source, if we as architects and urban waterfront is Durban's most valuable asset. As such the scheme should planners allow the city and its people to fulfill its rich potential. include public facilities that draw both tourist and other Durbanites to the area. In providing these facilities we must ensure that it is easily ?Schemes of this nature are highly dependent on a functioning and accessible. competent public system of transport. This will allow the precinct to be accessible to people of all walks of life. In doing this, the scheme takes on The Urban Plan though attempts to create these opportunities through its a greater meaning but a reliable transport system also ensures that the planning, which I do not doubt is in accordance with standards of area is linked to other major areas. In this scenario the most likely and waterfronts world wide. It fails to do the same within the general zoning for beneficial link would be to the city center. In doing so the development may different uses within the precinct itself. very well fulfill its goal of assisting in regenerating the CBD. It is the belief of the developers that the Point creates the opportunity to ?Waterfronts everywhere are being covered with large, upscale residential define a South African Urbanism ?on a comprehensive scale that draws and commercial structures, with ironically named, extremely boring widely on the multiplicity of cultures that make up the city of Durban? ?festival market places,? and more and more, with huge aquariums.? (www.durbanpoint.co.za). den d u trI tity an C l u e A c tec in r hi ture 27 Chapter: 2 i : Sect on 2.6 At this point it is worth noting that as more communities join in, that each the eagerness to attract investment, forfeited public access in front of a waterfront story is unique to its own setting and place. These particularities hotel along a waterfront. being geography, heritage, politics, leadership and even chance. (Breen, 1994:23) In emulating other successful It is the opinion of the author that the Point redevelopment may have been waterfronts, the project may end up as a borne out of similar rash tendencies. The point has been subject to spectacular failure. There have been numerous redevelopments over the years. With each proposal failing the conspicuous failures. The Canary Wharf in city was criticised for a lack of vision. The city has in handing over the London is said to be the most spectacular management to a private development firm, potentially handed over the bankruptcy. waterfront to the very elite. Cities as they begin the momentous task of Within this discussion it was stated that it is within the zoning that one may waterfront development often do so as a assure that the most valuable areas within the development are to be used blind leap of faith in deserted areas with no for public benefit. It is of no use to the common public to have a hotel or value. As such city officials with no skill for mixed use development with offices on the water's edge. bargaining are so anxious to secure investment that they give too much away. It The most successful waterfronts around the world have been very specific is the author's opinion that this is more than in the nature of their use and activity. Some of the different types of likely the sequence of events that led to the waterfronts include: Point redevelopment. Breen cites this on the fact that ?elected officials frequently ?The cultural waterfronts. have short range vision, keyed to their ?Recreation waterfronts. terms of office, which is generally two to ?Working Waterfronts. four years. This leads to bad planning ?The Residential Waterfront. decisions, excess compromises, or 'quick fix' solutions that backfire.? (Breen, 1994: 24) Newport, Rhode Island in the USA is cited as an example where, city officials in Previous Point Waterfront Redevelopment Proposals (Sukhlal, 2004) den d u trI tity an C l u e A c tec in r hi ture 28 Chapter: 2 i : Sect on 2.6 these areas into public areas. The mixed use concept should be used within the interior of the development. In principle, its retail strip at ground floor with offices and retail above will ensure that they remain active with pedestrian movement. Considering the nature of the thesis proposal (and the need within the area), the author proposes that the western strip of the The diagram above depicts the activity use of the Durban harbour. As one development be converted to a cultural waterfront. This will not only can see the harbour has been fully utilised in terms of its working aspect. diversify the area but it is appropriate due to the fact that the wester edge This usage borne out of opportunity has lead to the port becoming the does not allow for activity on the water due to passing ships etc. As such it busiest port on the African continent. will offer activities that are different to the recreational aspects of the area where activities are allowed to move from land onto water. As established a successful waterfront is dependent on a multi functional aspect and that the edge is of significant value. The point waterfront due to its position has the ability to adapt into a waterfront that incorporates The site for this dissertation recreational, cultural, working and residential typologies. The waterfront was selected within the western proposed cultural strip. It is adjacent to a proposal (above right) which is currently being implemented does display public square and is accessed off the main arterial road into the point. The an application of the principle above in the provision of a small crafts edge of the site will be in direct contact with the waters edge after the harbour. It is of the authors opinion that this principle should be harbour widening has been carried out. incorporated on the perimeter/ edge treatment of the development turning It also responds to the lack of commemoration to the heritage of the Point Area. The Proposed intervention has the potential to be part of an overall proposal (the cultural strip) to respond to this notion. Working Waterfront (Durban Harbour) Recreational Waterfront (Golden Mile) Point Waterfront U Shaka Marine World and terminating point Small Crafts Harbour U Shaka Marine Proposed Cultural Stip site N h a r r id b o u w e n in g den d u trI tity an C l u e A c tec in r hi ture 29 Chapter: 2 i : Sect on 2.6 2.7) Tokyo International Port Terminal pitched roof to act as a By Minoru Takeyama symbol for those returning home. For those The design for the Tokyo International approaching the building Port Terminal was selected via a from the city, this competition and is situated on Harumi, structure is reminiscent which is a reclaimed 'island' within the of a lighthouse on a Tokyo Bay area. seaside cliff, marking the beginning of the sea. The architect Minoru Takeyama has had This link is further to deal with a variety of factors that were emphasised with the use influential in the design outcome. The of bridges and masts and other attributes to an ocean vessel. Duality is a terminal building serves as a transitional concept that is carried throughout the design including location, function space between the city and the sea; and the design. (Papadakis, 1991: 45) manmade and natural landscapes; industrial and downtown areas. The Circulation is used as a primary tool in layering the terminal's functions, complex form has been derived such which includes customs and immigration areas, meeting halls, lounges that it symbolises its role as a point of etc. Wide stairways that are articulated as a feature of the building ensure departure and arrival. It serves as a that several larger landmark in that it is a point of landing to roof top terraces are those entering the bay area, and upon directly accessible departure, indicates the beginning of the from the street. sea, thus making it a watermark as well. Elevator Shafts puncture through The symbology is further emphasised these roof top by the fact that the building is articulated platforms alongside to portray the imagery of a house with a the 'house on a hill.' (Papadakis, 1991: 46) (Papadakis, 1991: 44) (Papadakis, 1991: 47) (Papadakis, 1991: 45) (Papadakis, 1991: 47) denI tity and Culture c tin Ar hi ecture 30 C p er: 2ha t ec ion: 2. S t 7 These forms are further emphasised by the use of covered sky- bridges that connect to relevant levels. The building was chosen as a case study due to the fact that it successfully fuses the benefits of both urban and natural factors convincingly and activates the city edge, creating an attractive cultural, leisurely yet functional node. It is also relevant in terms of the particulars of the chosen site for this dissertation. It offers clues as to how a building that is built on the threshold of the city and the edge of the water may begin to make references to both. The use of dual symbolism in creating unique forms that are derived from imagery such as the house and the lighthouse is intriguing. denI tity and Culture c tin Ar hi ecture 31 C p er: 2ha t ec ion: 2. S t 7 2.8) The Durban People Mover Earlier within this chapter it was deduced that a public transport system is a necessity to the city as a whole. It is also vital in terms of the degree of success that the Point Waterfront redevelopment will have. In response to this and with the impending 2010 world cup the city has begun to implement a transport system that links the city from the north to the south. It makes use of rail, underground parking and pedestrian linkages. The system also makes use of a inner city distribution system. It is this system that is of significance to the project due to the fact that it links the city center to the point area. It culminates within the point area at a stop that is adjacent to the U Shaka Marine World. The following linkages and axis proposal therefore are designed in keeping with the proposed development by the city. As such it focuses on the linkage from the city stop to the proposed site. (www.durban.gov.za) denI tity and Culture c tin Ar hi ecture 32 C p er: 2ha t ec ion: 2. S t 8 pedestrian road rail water 2.9) Proposed Urban Movement System people to park their cars and then to walk into the development or to (to be read in conjunction with maps 2.10 & 2.11) make use of the proposed tram which is linked to a secondary node (2). These nodes are seen as more than just transport nodes by the The proposed movement system within the point development author but opportunities for expression and places where visitors capitalizes on the points deemphasis on the use of privatised may be informed about the point area, places of interest and current transport within the precinct. events. The proposed tram route is a loop that takes one through the proposed festival spaces and is seen as an educational, casual, In doing so the system aims to encourage and stimulate pedestrian cultural, promotional, tourist and historic journey through the area. movement within the precinct. Thereby it not only maintains and The proposed tram system also makes reference to the tram system ensures the viability of the Durban People Mover that the city has that functioned in the early years of the point area history. introduced, but it also ensures activity within the precinct is conducive to the mixed use philosophy and its associated retail. The The third proposed system is the introduction of ferries and point area is accessible by a range of movement systems including catamarans that will enable the point area to establish connections to pedestrian, road, rail and water. The proposed system is designed to surrounding areas such as the bluff, Maydon wharf. This is further ensure that it fits into the proposed people mover. In doing so the substantiated by the proposal of a cruise line terminal. The proposed urban system ensures that the point waterfront is given every tram line will share facilities with this terminal. Tourist may then also opportunity to become an integrated component of the city. get off their cruise ships and onto the adjacent tram connection. The use of water transport is taken further into the development with the The proposed network takes advantage of the proposed people proposal of water taxis that may service the proposed canals within mover as one of the 3 major transport nodes. The first as discussed the development. The water taxis will work in conjunction with the taps into the people mover. This proposed transport node is situated tram lines thus ensuring a good coverage of the point area in terms of opposite U Shaka Marine World. (1) The people mover will be accessibility. complimented with a park and ride system. This system encourages denI tity and Culture c tin Ar hi ecture 33 C p er: 2ha t ec ion: 2. S t 9 h t smi ts reet e t w t strees freeways main arterial roads durban people mover proposed ferry route indian ocean Point Development golden mile harbour m4 freeway to dbn north southern freeway maydon wharf dbn cbd icc precinct site site widened harbour mouth edge Grey Street Precinct denI tity and Culture c tin Ar hi ecture 34 C p er: 2ha t ec ion: 2. S t 10 2.10) City Context, Access and Linkages - - transport node: - transport node: buses, taxis, park & ride system tram terminal future cruise line terminal/ ferry terminal 1 2 3 Urban Movement System (to be read in conjunction with city system on previous page. uShaka island marine park harbour widened harbour edge point road N o t R d P n oa i 3 future small craft harbour site canal or h t t E as N ds W i n proposed tram route ferry route 1 existing proposed festival spaces proposed system of urban movement proposed water taxis proposed people mover 2 denI tity and Culture c tin Ar hi ecture 35 C p er: 2ha t ec ion: 2. S t 11 2.11) Point Precinct Access & Linkage site e el da anx r qus era m alti ble aruq es a ob bm o uq es ra eneis uq es ra denI tity and Culture c tin Ar hi ecture 36 C p er: 2ha t ec ion: 2. S t 12 2.12) Point Precinct Context (Current State of Development Implementation 2.13) Site Context eastern side of Point Road has yet to begin. Site Description: Transport Access: The site as mentioned sits adjacent to the proposed widened harbour The site is accessible via the now upgraded four lane Point Road. Point mouth. The site is approximately 6350sqm in size. The site offers Road has only just been recently renamed to Mahatma Gandhi road. This opportunities on all four sides. The northern boundary sits adjacent to one is in recognition of the work that he has done within the country and the role of the five proposed festival spaces within the development. The west he played in focusing the efforts of the Indian population against apartheid. facing side looks over Point road which is the main arterial into the area. It is also a tribute to the South African Indian population and is in The east side faces the harbour mouth. The south side sits overlooks an recognition of their accomplishments and connection to the point area. axis that will also have high pedestrian movement as one walks past en However for the context of this study the Road will be referred to as Point route to the water's edge. Road. Current Use: The site as discussed in detail in the proposed urban movement system is a short walk away from the small crafts harbour as well as a proposed The proposed building site is currently not defined as work on the harbour passenger terminal. widening has yet to begin. Currently there are vacant sheds which used to be warehouses, nightclubs and restaurants. They have however been Topography: cleared out and are now vacant in anticipation of the harbour widening. The initial construction period was for the period October 2004 to 2006. The point area, including the proposed site is relatively flat. It does However this date is yet to be revised. however have a water table level of approximately 3m below natural ground. Due consideration must be given to this in designing a basement Zoning: parking level. The zoning of the proposed site is currently deemed to be mixed use. It is Geology: however, as discussed in the opinion of the author that the site along with the prescribed cultural precinct be rezoned for public building use i.e The soil in the area is comprised mainly of infill material with a bed of rocks recreation. This may still be done as work on the proposed site or on the approximately 10m below the natural ground level. This must be denI tity and Culture c tin Ar hi ecture 37 C p er: 2ha t ec ion: 2. S t 13 considered in the design of a potential basement. It also indicates to us that there is no need for the use of a piling system for a three to four story development. Ecology: The natural vegetation of the point area is classified under coastal dune forests, which is made up of sub tropical trees, dense bush vegetation and sparse patches of forest type flora. Climatic Factors: Durban is blessed with a relatively pleasant sub tropical climate throughout the whole year. Winter temperatures are marginally lower that that of summer temperatures on average. The average temperature for the year, is between 18 to 24 degrees, while the coldest winter night is 10 degrees. The summer months are hot and humid especially during the night. Winter months are colder in relation and dryer. Air close to the ground is warm due to radiation of heat and the sea breeze can be used for its cooling effect. The ideal orientation for the building in the area of intervention would be slightly east of north. This would allow the full use of the north sun for natural lighting but also in terms of minimising heat load. Due to the high levels of humidity within the Durban context this will have to be supported by a system of evaporative cooling through use of ventilation. denI tity and Culture c tin Ar hi ecture 38 C p er: 2ha t ec ion: 2. S t 13 w E in s N d s w i d S W n coolert an w i h r i w a mr e r r w ith no ai n deep set windows on east facade solar protection on west facade taller buildings to NE of courtyard summer winter site Harbour Mouth views views site fu e r i i e ur c u s nl t e m / ty er i er inal fer m nal t r n a P o d oi t R C nal a new proposed buildings pedestrian movement point road listed buildings public space currently proposed buildings site Harbour Mouth N it te S e Co xtn denI tity and Culture c tin Ar hi ecture 39 C p er: 2ha t ec ion: 2. S t 13 Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relation Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural M ,E E O YONUM NT M M R & A T CHI E E R CTUR 04 C H A P T E R 3 3.1) Introduction play a crucial role in guiding our future actions. The ability to recall is one of mankind's most powerful assets. It is the link The capacity to remember is ingrained within us all. The importance of to our past and has a profound impact on the present. By looking into the memory and its influences on aspects ranging from the ritual to the past we are able to establish our identity and in many ways it is a mythical, historical, political, social or even psychological; will however determining factor in our future decisions and fortunes. differentiate between various cultures. Memory is a part of our everyday lives; be it individual or a society's Cultures develop based on us a result of the beliefs and way of life of a collective memory. Memory is however by no means permanent. It is group of people. Most cultures in the world have been influenced by other constantly subjected to reconstruction or altered by perception. As such, cultures. Invasions, colonialism and most recently globalisation have memory may be seen as a representation of a society's beliefs, values and resulted in cultures mixing with other cultures. The exchange of rituals. The documentation of memory can provide profound insight into a information between cultures has been taking place for thousands of culture, at a particular point in time years. However, the advent of efficient communication and transportation . systems, we are more interdependent than ever. Architecture has always been intertwined in the representation of memory by providing public spaces dedicated to museums, memorials and It may be argued that our post modern global culture has eliminated the monuments. While these built forms may seem permanent, they are need for preserving our traditions and beliefs. Does this imply that there is subject to various types of change. A monument may be dismantled in no need to document or recall who we are, or what we have become? Has times of upheaval. And even if it does stand the test of time, the original our past and present become inherently antagonistic to each other? Has meaning and purpose is always in a constant state of change. this also led to the death and irrelevance of monumentality or memory in Architecture? The act of remembering should therefore be seen as a constant art of renewal and a tool of reflection as such. This should be seen as strength of The advent of modernisation has been of significant benefit, leading to the memory in that it serves as a medium of engagement, the display of new formation of a global economy, with international markets aimed at perspectives in a continuous dialogue between past and present. The international trade. Money, technology and raw materials are exchanged representation of memory is essentially the art of remembering. It is a across national borders with ease. Globalisation has led to a number of process and not a search for an endpoint. It is however a process that can social, political and economic changes and improved interaction. denI tity and Culture c tin Ar hi ecture 41 C p er: 3ha t ec ion: 3. S t 1 denI tity and Culture c tin Ar hi ecture 42 C p er: 3ha t Se tion: 3.1/2 c The answers, however to the questions posed above become clearer essence a product of modernity. when one considers that despite the benefits, globalisation must also be held accountable for creating widespread suffering, disorder and unrest by As previously mentioned, the architecture of a certain period is always, promoting first world ideals of capitalism. even if inadvertently in some way, highly reflective of the climate of the time Most recently, there has been growing scepticism and increased or the culture of its builders, and the use of memory and monumentality is awareness towards the negative aspects of globalisation and its link to also not an innovative concept in architecture. It is also worth noting totalitarian and colonial enterprise and other social ills that are still despite the advent of post modernism, there is still scope for architecture of impacting our world today. As a result of this, issues of remembrance and this nature. This chapter investigates the process of documenting the identity have been subject to mass debate in our multifaceted society. past, how it may be done in accordance to the contemporary lifestyle we live today and how it my inform it. In order to achieve this; the following The recognition of the 'other' and their histories has taken its rightful place questions must be answered. Why have memorials been built in the past? of paramount importance in public debate. This has led to the What is its meaning and what has the reaction to them been? How is this acknowledgement that without memory or recognition of the past, relevant to the process of memorialisation in the post modern era? differences cannot be recognised or celebrated, leading to a lack of Globalisation has created a world of multiple and constantly evolving tolerance for rich complexities of different individual, cultural, political, and identities, whether we like it or not, it has become central to all aspects of national identities. our lives, and the obvious benefits are undeniable. Can architecture provide a platform through which these changes and progression may be The essence of architecture is reflective of the social, political and reflected upon and its benefits capitalised upon and how culture, memory economic climate of a community or group of people and is a and identity may inform this process? documentation of that point in time. Our architecture has the potential to facilitate a process of contemplation of society's ills and a response or 3.2) Museums in History adaptation to it. It may be argued that museums have been in existence since the Architecture can positively influence and guide a community in retaining beginning of civilisation. Collections containing culturally significant their essence by celebrating it but it can also influence their perceptions objects and various other types of artifacts have existed in one form or and future decisions. It also argues that modernity and the process of another for thousands of years. The actual origins of the concept of the memorialisation are not polarised, but that; the collating of memory is in museum can be traced back to the Renaissance Period in European denI tity and Culture c tin Ar hi ecture 43 C p er: 3ha t ec ion: 3. S t 2 History during the 16th and 17th centuries, which marked a period of an intellectual study that was factually based. It was during this period that unprecedented interest in the arts by the aristocrats. These collections the greater public became aware of what the museum offered. This point were merely for private display within their homes and as such collections also marked the origin of an evolving age of scientific discovery, which as of this nature remained in the possession of an elite few. we shall see, ultimately led to the derivation of a vastly different response from museum architects. In response to this, the first public museum was opened in Britain. The Archaeological findings in the ruins of Ancient Greece and Pompeii British Museum was opened in prompted a period of a return to classicism, which heavily influenced the 1753 and was followed up by a design of buildings during the 19th century. The museums were almost declaration that the museum was always strictly symmetrical, the property of the public. Despite featuring a series of galleries this, the ordinary public did not visit which acted as a piano noble. the museums. Subsequently the These features can be seen in museums remained in the control the Altes Museum in Berlin of a privileged elite. designed by Karl Schinkel. Designed in 1820, it proved to be influential in the development of the The role of initial museums however, cannot be 'museum' through its planning, form and classical detailing. It marked the underestimated. They formed the basis of the point in the evolution of museumology in that it was the first museum where museum as it has been conceptualised today and even the buildings were regarded as a symbol of remembrance and not as we shall see informs the role that these buildings merely its content. play in society. The Soane Museum in London was built in 1818, was a product of a general The 19th century was a period during which a series of great exhibitions preoccupation with the idea of remembrance, were held, including the exhibition in Crystal Palace in London in 1851. The along with the notion of life and death. Originally the sizes of these exhibitions were vast and included contemporary products house of John Soane, it was converted into a borne of the industrial revolution. These exhibits marked an important point museum. It also marked the advent of the age of in that they were of interest to all and rendered class divisions irrelevant. It enlightenment and the development of history as also led to the realisation that art and science had the power to improve the The British Museum(www.hotel-assist.net) The Atlas Museum (www.wikipedia.com) The Soane Museum (Www.koti.net) denI tity and Culture c tin Ar hi ecture 44 C p er: 3ha t ec ion: 3. S t 2 lives of all people. This concept is distinct in Le Corbusier's 1939 museum of unlimited expansion. These great exhibitions, despite their temporality, It has been noted ?though, it is a good were a product of the industrial revolution and were deal more fluid in detail than its overall the first of a new building typology that made square spiral form suggests at first.? extensive use of technological advances and the (Davey, 1995:85) This preoccupation availability of materials such as iron and glass. These with the route reached its peak in 1956 exhibitions along with museums also began to take t h r o u g h F r a n k L l o y d Wr i g h t s on the role of educating, informing and encouraging Guggenheim Museum in New York the advancement of mankind. This upliftment where the route was initiated by a lift to manifested itself in other ways. It led to a desire to the top of a spiral, after which you were expected to walk down the lengthy collect and compile extensive exhibits to portray national wealth. This ramp to view the artworks. The museum though noted for its innovated resulted in 19th century museums being very crowded, with minimal order space making, limited the visitor to only one sequence of viewing the in the arrangement of the displays and little concern with regard to the objects. Due to the downward spiral, any thought of retracing ones steps to manner in which items were viewed. This was addressed with the make comparisons was quickly dispelled due to its difficulty. introduction of the ?period room? in 1880, which allowed for displays to be categorised analogically. This line of thought was not always the case however. Mies The 20th century produced significant advances in the technological, van der Rohe responded to it economic and social areas and these developments were reflected in the through his National Gallery in design of new museums. Extensive technological advances led to Berlin in 1942. He places museums being significantly more efficient in fulfilling its primary role at the emphasis on the enclosure of time, this being the preservation and archiving of its contents. space that could be sub divided in several smal ler exhibi t ion The advent of modernism in the 1930's placed further emphasis on the spaces. This allowed greater function of buildings and this gave rise to the concept of rational and logical flexibility not only in variety of planning in museums resulting in a dominant route through the museum. scale of spaces but also in the user's ability to define their own route of Crowded Soane Museum (www.answers.com) Museum of Unlimited Expansion (www.foundationlecorbusier.com) National Gallery (www.dw-world.de) denI tity and Culture c tin Ar hi ecture 45 C p er: 3ha t ec ion: 3. S t 3 exploration. The viewer is allowed to explore the area around the museum Initially museums were always placed isolated from the urban fabric and along a public route that intertwines through the site, bringing people into distanced from the everyday or the ordinary. This viewpoint has been contact with the building and its exhibitions. The separated internal route abandoned as the role of museums has evolved. Museums erected during has its own unique spatial arrangement. It is based on traditional U-shaped the 1980s have not adhered to this principle and have instead attempted to footprints used in Neo Classical buildings. Upon closer inspection, one integrate into the fabric of the urban city, thus allowing for greater notices that the terrace is incorporated as part of the gallery circulation accessibility to all people. system allowing one to be cut across or around the prescribed route, thus allowing one to explore and to map different routes and therefore Though the location of museums plays a significant role in this regard, it experiences. The building may be interpreted in different ways and this was complemented by an Increase in function of the museum. The passive makes the building an example of a post modern structure. nature of the 'museum' was complemented by other draw card functions such as retail, restaurants and outdoor displays to attract the public to 20th century museums were designed via differing planning typologies, generate the necessary urban vitality that is central to any museums but generally a considered effort was made to design in detail, all aspects success. of the museum experience. This line of thinking, still greatly influences how the museum is perceived currently. The museum must be seen as a flexible container for an ever 3.3) Museums in today's world: evolving itinerary with a multitude of activities. It must house mementos to our past but at the same time, act as a facility to change; a sanctuary yet Towards the end of 20th century, the role of the museum evolved from the also an entertainment centre or tourist junction. rudimentary origins of a storage box to become an object of prestige and primary node of civic architecture. The museum boom that has occurred in An ideal example of this the last quarter of the last century may also be interpreted as a centralised mega structure is the manifestation of an ever increasing intellectual public especially in faster Pompidou National Centre of developing first world countries. An increased focus on education and a art and culture by Renzo Piano leisurely lifestyle has also contributed to the museum attaining a new role and Richard Rogers. Initially it as a public amenity. Third world countries have been used to symbolise had been criticised as being over development in emerging economies. elaborated and drawing attention away from it contents, but over time it has establishes itself as a cultural Pompidou National Centre (www.bc.edu) denI tity and Culture c tin Ar hi ecture 46 C p er: 3ha t ec ion: 3. S t 3 centre, i.e. both a museum and a creative centre and has helped to practical and flexible whilst accommodating supplementary functions such reinterpret the definition of a museum. It allows for a dynamic interaction of as workshops and documentation facilities. The purpose of the museum activity and people, thus becoming an expression of contemporary culture has continuously altered to adapt to the needs of society and to reflect, its and appeals to millions, acting as a celebration of culture, pride, spirit and achievements and also its concerns at the time. identity. The museum is no longer the exclusive shrine it once was, sealed away However successful the Pompidou Centre has from the everyday. Yet it still is a special place where life takes on a different proven to be, it questions the relationship between dimension where one can find the time and space to think feel and reflect. museums or the architecture and its contents or display. This issue is traversed by all architects designing museums and has been addressed in one of two ways. The first approach confronts the problem by emphasising a direct connect ion between the displays and the buil t form. The architectural space reflects the contents on display. This analogy may be seen in the Castelvecchio Museum in Italy by Carlo Scarpa. The spatial qualities and overall form have been influenced via a detailed consideration of the exhibits and its relationships with the user. The second option which has been prominent in the 1980s makes use of the neutral display spaces, thereby placing emphasis on the artifacts that are on display. The evolutions of museum architecture over time illustrates that a museum must take on and fulfill several roles; it must be numinous and reverent, Interior of Castelvecchio Museum (www.wikipedia.org) Castelvecchio Museum (www.wikipedia.org) denI tity and Culture c tin Ar hi ecture 47 C p er: 3ha t ec ion: 3. S t 4 3.4) The Museum as Memorial as Monument: manifestation in which the story of an individual or whole society is recalled in the physical form. As museums gained in stature towards the end of the 20th century, its scope and impact led to the appearance of a new genre of museum A memorial is a space or a place of memory; it could even be an area or typology that documented and responded to tragic events. These were even a day. A monument however, is the building or installation of an more often than not events that were the focus of worldwide attention; object to memorialise an event. A memorial does not need to be a physical painful and traumatic injustices that were politically motivated, commonly object, or a monument. A monument however in creating a space referred to as conflict museums. dedicated to the memory of a specific event is always a memorial. An example of this duel function of a monument may be a statue that is a A Monument according to Webster's International Dictionary may be monument to a heroic deed but it may also be a memorial to death or a loss. defined as: As such memorials have been created in the form of public monuments and sculpture, museums and days of remembrance. These events have ?A Distinguished Figure or Object. A Structure, pillar, stone or building all been used to recall events that have occurred, with the aim to dispel its erected or maintained in memory of the dead or to preserve remembrance secrecy, to celebrate a transition but also to ensure that these mistakes are of person, event or action.? never repeated. A Memorial according to Webster's International Dictionary may be ?Remembering is something which occurs in the world of things as well as defined as: words, and that artefacts play a central role in the memories of culture and individuals... In the very variability of objects, in the ordinances of their ?Something that serve to preserve memory or knowledge of an individual consumption and in the sensory richness of relationships people enjoy or event.? through them, they are fitted to be later reframed as material images for reflection and recall.? (Radley, 1990:57-58) Memorials and monuments may be further defined as architecture that has the ability to move and engage or evoke a response or a memory from its The benefits of such a visual reminder may be better defined by using the viewer. This memory does not necessarily have to be positive, but it must analogy of an injury. An injury may be painful, drawing attention; it may allow the individual, regardless of whether they were a part of the event, to even evoke a feeling of shock or guilt. Time, however ensures that injury experience the past. Architecture in this scenario is a tool of physical will heal. Despite this it will still be remembered by a scar, which acts as a visual reminder to a past trauma i.e. a memorial. As such, a visual 1994:159). reminder represents healing, but also a new found strength and sense of achievement. For a museum to fulfil a similar role it must act as a tool to The differences between a memorial and monument have been discussed assist people in overcoming 'injuries' and must make effective use of however a museum has the ability to provide aspects of both a memorial reconstructed memory of a difficult and unjust past. and a monument. A museum provides a space that places emphasis on remembrance. It also offers an opportunity for an exchange of thoughts ?There is a link between generations? that goes back beyond individual and opinions as to what the monument is intended for. This is further experience.? (Watchel, 1990:18) informed by what the viewer offers, in terms of perspective, memory and opinion based as pain or guilt. Museums are therefore vested with a concern with the past and memory is undoubtedly linked to the past. Museums are borne of and exist due to our Through this exchange, Holocaust museums serve to inform those who need as humans to remember. Museums act as access points to our have not experienced it first-hand, but also a place of reflection for those history and convey elements of our past that are of interest or importance. who did. Traditionally monuments are celebrations of past triumphs and Remembering the past allows us to learn from it. heroes. Holocaust monuments in general are controversial due to the fact that they may be interpreted as monument to human suffering and An analysis of how memorials and museums have been created and their therefore barbaric. (Huyssen 1995:15) impact could give profound insight into the benefits of recalling traumatic memories, how they may portray a viewpoint of a society and their The Holocaust Museum perspective of traumatic memories as individual and as part of a i n Wa s h i n g to n w a s community. o p e n e d i n 1 9 9 3 . Designed by James Ingo Immediately after the holocaust, concentration camps were made Freed, the building draws accessible to the public, to allow them to view the atrocities that had taken on visual references from place. Formal museums to the Holocaust emerged 20 years after the the holocaust and Jewish actual event. This has been attributed to the fact that the feelings of agony Ghettos in Nazi Germany and even guilt were to traumatic to confront. The silence was seen as a to provoke emotion and testimony to the intensity of depth of feelings that were repressed. (Novik, memory in response. At denI tity and Culture c tin Ar hi ecture 48 C p er: 3ha t ec ion: 3. S t 4 The Holocaust Museum (www.washington.org) denI tity and Culture c tin Ar hi ecture 49 C p er: 3ha t ec ion: 3. S t 4 the same time the architect has designed the space to be ?sufficiently museum. ambiguous and open ended so that others can inhabit the space and imbue to the forms with their own memories. (Freed 1994:95) The The South African Holocaust architecture plays a critical role in displaying the message the museum is Centre in Cape Town establishes intended to convey. A visitor is subjected to a feeling of being closed in to a similar link via the depiction of replicate a feeling that was experienced by all Holocaust victims. individual experiences. This The museum creates spaces that are empowering through its sombre individual perspective is further silence to allow the visitor to experience silence as a void left by people extended via the use of photos of who were ruthlessly killed in the holocaust. The museum halls however, six hundred inhabitants of a town could be criticised for being to large, thereby dwarfing and disengaging the that were killed in concentration view. Due to the lack the intimacy, one engages with the building from a camps and therefore tells the story distance, thereby lacking intimacy. Admittedly this has also given the of an entire group or community. The holocaust is portrayed in detail museum an aura of dignified sobriety through its monumental exterior. through a combination of video, text and artefacts. There is other precedent that shows that similar emotions may be evoked The museum is successful due to an insightful combination of exhibitions using simpler and perhaps even more striking ways. The Tong Sleng ranging from artefacts to film; including a clip of actual anti-Semite film clips museum in Phnom Penh, Cambodia evokes emotions and at the same that were shown to the German public to justify Hitler's actions. This clip time documents all those that suffered in the event it memorialises. The gives a remarkable insight into the methodology of Hitler's thinking and museum was placed in a renovated school. The walls are lined with planning. The artefacts, including an original copy of Mein Kampf and a thousands of photographs; faces of those that were killed in the Khmer uniform of a concentration camp survivor are equally powerful. The Rouge's reign of terror during the 1970's. The school was chosen as the museum culminates with a documentary film telling the stories of Jews who site of the memorial due to its significance in being used to torture and kill survived the Holocaust and moved to South Africa thereafter. many of the people depicted in the photographs. One such photograph is a map of Cambodia that is composed entirely of skulls of victims. The exhibition is part of a Jewish Cultural Centre. This does not affect the Comparisons may be drawn to Holocaust museums in that this building impact of the message portrayed, but by being in a context such as a also condemns atrocity whilst evoking emotions in the viewer, ensuring Jewish Centre, ensures that its presence is constantly felt by those most that its memory will live on through the visitor long after they have left the affected by its story. South African Holocaust Centre (www.ctholocaust.co.za) denI tity and Culture c tin Ar hi ecture 50 C p er: 3ha t ec ion: 3. S t 4 boxes via openings at the base. Each Memorials have been all over the world, differing in concept and evoking a box is a metaphor for a specific range of emotions. It may be argued that even though memorials are concentration camp and is named as highly sculptural, their architectural qualities as creators of space, with such. The surface of the box is spiritual and emotional meaning warrant an analysis. transparent with thousands of numbers cut into them, which on a The Vietnam War Memorial, in sunny day, temporarily imprint Washington was designed by themselves on the skin of the people Maya Yang Lin and is an example passing through. This is a powerful of a simple abstract memorial. It is reference to the system of tattooing numbers on concentration camp a spiritual space where people victims, allowing the passer, by for a brief moment, to consider what may pay their respects to the Jewish Victims went through. In this memorial, the architect uses a victims of the war. The memorial simplistic reference, to generate a personal interaction with the viewer offers a unique spatial quality in which induces a moment of empathy, and allows a profound insight into the that it provides an outdoor space perspective of a victim. The connections on a personal level within a where people may gather to mourn alongside a listing of those that were space have led to it being a successful memorial. lost contributes to the unique meaning of the place. These listings which are inscribed into a stone wall, sunken into the ground gives the viewer assurance, through the rigidness of the materials used, that those who were lost would never be forgotten. A processional journey is created along the route creating intimate personal space for contemplation and reflection. Stanley Saitowitz's Boston Holocaust Memorial is another memorial that creates a unique spatial experience that allows for interaction with the viewer. The memorial may be described as six transparent rectangular boxes in linear arrangement. The viewer is allowed to walk through the The Vietnam War Memorial ietnamwarmemorial(www.v .com) Boston Holocaust Memorial (Frank, 1998:43) denI tity and Culture c tin Ar hi ecture 51 C p er: 3ha t ec ion: 3. S t 5 3.5) The Berlin Jewish Museum by Daniel Libeskind Jewish and non-Jewish. He also plotted their addresses on a city map. He then Museums and memorials to the traced lines among them which produced Holocaust have been built all over the distorted triangles resembling the Star of world. It may be argued that Daniel David that Jews were forced to wear as a Libeskind's Jewish museum in Berlin form of identification. This process led to is the most controversial. Upon the generation of the footprint of the completion in 1999 it marked the building which resembles a broken Star of realisation of a decade long dream of David. This incomplete form is a a Jewish museum in Berlin. The metaphor to the monumental absence of museum has received international Jewish History in Berlin and is in response attention and serves as a powerful to the ?power inherent of incompletion.? assert ion that Germany has (Russell 1999:79) recognised the enormity of the Holocaust and the importance of The building is actually an reconciliation. extension to the Berl in Museum, and is entered via The design of the museum was inspired by the long association that Jews, the existing museum. This is many of whom were significant historical figures and the city of Berlin. done underground via a Jews were once numerous, highly prominent and successful in Berlin. In basement and offers no trace 1933 a museum was opened to celebrate their long contribution and of this connection above connection to the city of Berlin. The year 1933 also marked the year that ground. Adolf Hitler consolidated his power. The museum was closed in 1938. All physical traces of a once proud association such as synagogues were Upon entry visitors are confronted with 3 corridors. The central corridor systematically erased. leads to the main circulation stairwell which is connected to all levels of the museum thereby allowing the viewer to choose the levels to be viewed. Libeskind responded to this by exploring the history of Berliners, both The second door leads to the base of a dark empty echoing tower as Jewish Museum (Russel, 1999:80) Star of David (Russel, 1999:78) Site Plan (Russel, 1999:99) 1- Existing Museum 2- Berlin Museum denI tity and Culture c tin Ar hi ecture 52 C p er: 3ha t ec ion: 3. S t 5 Libeskind states symbolises the Visitors exit the building either by returning to the basement or via the end of ?Berlin as we knew it, the garden. ?There's no final space that ends the story or puts it together for apocalyptic void.? (Russel, the visitor,? says Libeskind. ?It should continue in their minds.? 1999:79) Named the Holocaust Tower, it is meant to act as a Libeskind goes onto to state that architecture and culture are responsible gesture that recognises the in addressing and responding to events in history. Liebiskind's design hundreds of thousands of Jews argues this point forcefully enough when you consider that the building that lost their lives. was open to tours whilst it was still empty. It is one of four such towers that surround a garden which holds 48 square Libeskind's Jewish Museum was selected as a case study due to the fact columns that is filled with earth and planted with vegetation. The number that it illustrates how architecture alone through the creation of space and 48 is significant in that it represents the year of Israel's founding. The third carefully considered metaphors and symbolism can document a history corridor leads out into this garden and represents the fleeing of Jewish and a culture that was once eradicated. Berliners all over the world during Hitler's reign of terror. The building is decorated by various metaphors throughout the route. As one proceeds through the exhibits, one encounters narrow passages which are actually bridges over voids that are impossible to get to. Oblique corners are used to remind the visitor of the profound interruption of the Holocausts, by breaking the coherence of the exhibition narrative. Typical Plan (Russel, 1999:88) Berlin Museum Section through Entrance Stairway (Russel, 1999:78) 1- Underground link to Berlin Museum 2 - Primary Circulation Stariwell 1 2 denI tity and Culture c tin Ar hi ecture 53 C p er: 3ha t ec ion: 3. S t 6 3.6) The Benny W Reich Cultural Centre for the Ethiopian Community By Ilan Pivko The centre is located in the small town of Yavneh, which is home to Ethiopian Jews and Russian immigrants and has had to confront the issues of minority groups and widening social gaps. The centre facilitates an array of functions including a ?A good building is good for the community; it gives them a sense of synagogue for the Ethiopian community and space for importance and something to be proud of. The mud walls, the Ethiopian after school activities that are accessible to all. tradition, are like a jewel in a concrete jewel box.? Ethiopian Jew (cited anonymous, 2002:34) The design is an acknowledgement of the tremendous A formal structure is used as the primary element. Four parallel mud walls gap between the two cultures, and as such the centre is are placed in front of this with timber spans above which break the light and very distinct within the Israeli landscape. The accentuate the earthy textures below. These walls serve as portals into the architectural language is in direct response to a main activity areas of the buildings and act as a transition spaces between community that does not mix with others. It is designed the building and the public square in front of it. The parallel walls enclose by the Israeli architect Ilan Pirko, who is part of a new doors which allow activities to flow from the inside into the square when generation of designers, with a more diverse and culturally sensitive attitude. The building is composed using contrasting materials in a fusion of two building traditions, these being the Ethiopian traditional mud construction and the contemporary off shutter technique. (anonymous, 2002:36) (anonymous, 2002:36) (anonymous, 2002:36) denI tity and Culture c tin Ar hi ecture 54 C p er: 3ha t ec ion: 3. S t 6 opened. Offices, ablutions, circulation and service cores are situated in a smaller concrete structure that is separated from the main form via a glass box that houses the entrance. This sets up a rhythmic pattern between the different functional spaces. Initially, one is inclined to feel that the architectural blending of such diverse materials would be too contrasting. However by choosing to directly confront the challenge of designing for the Ethiopian community in Israel, he has created a space that harmoniously unites the Ethiopian and Israeli cultures, and serves as a symbol for the potential in collaboration between the two subcultures in the city. The fact that the services provided are being used not only by Ethiopian communities but also by the Russian community is also a symbol of its success. The Benny W Reich Cultural Centre was selected as a case study due to the fact that it illustrates interesting methods of representing identity of a social group in a new environment. The architecture makes use of materials that are symbolic of their past, but does so within the framework of a new context. This creates a fusion between the two ideals of the history of the community and their current status through the built form. denI tity and Culture c tin Ar hi ecture C p er: 3ha t ec ion: 3. S t 7 3.7) Conclusion repeat injustices of our past through a selective memory. Memorials through the use of symbolism and imagery should be reflective of the The memorials discussed within this chapter adapt a diverse range ideals of truth. of methodologies to initiate discourses that are valid. This is of even more interest in that they are all in response to the atrocities that were The design objectives must be driven through a process geared committed against the Jewish People. towards the production of a building that is in itself rational, simple and direct in its structural and functional approach. The task at hand In response to this range of responses, some critics such as Jean is the generation of a building to house a collection of narrative Baudrillard, have stated that history and any attempted testimonies. The American critic Noam Chomksy said that in any documentation thereof, events past and present are subject to attempt to convey the past, distortion, hype and opinion will effect or distortion. This is especially prevalent in today's climate of media distort truth. But she also states that these layers of distortions are over-exposure; heading to what Baudrillard has referred to as based on a bedrock of truth. Such truth can only be uncovered by ?Hyperreality? (Bewes, 1997:20). Baudrillard, controversially, went critical and scholarly investigation. (Holiday, 1998:46) The built form as far as to say that the Gulf War never actually happened, but was should therefore allow for a dialogue to generate with the public, one merely a product of an over hyped media and was never a war in the of openness and transparency, a metaphor for the exploration and conventional sense. revelations of the past that is geared towards a future of openness, in a search for this greater truth. In the following section of this document, memorial architecture will be analysed from a South African view point and its impact on identity. At this point, it is worth noting that any proposal of this undertaking should be done with strong consideration of the standing of Baudrillard and other post-modern theorists. For projects of this nature to be successful, a moral judgement on our past history and its associated traumas and also state that it was categorically wrong. Any memorial must also convey the point that it is important never to 55 Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian 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and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relation Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural S A A E O YO T F IC M M RU H R N 65 C H A P T E R 4 4.1) Introduction Apartheid may be defined as a social and political policy of racial segregation and discrimination enforced by a white government from 1948 South Africa is a land that has always been rich with heritage. Today we until 1994. It must be stated however that South Africa has a history of refer to it as racial diversity. The hunter gatherer San, Khoi Khoi herdsman such policies being implemented extending back to the arrival of and Bantu farmers had however occupied this region since the Iron Age. Europeans in 1652. Apartheid refers to the systematic implementation of With the arrival of Europeans in 1652, their way of life changed forever. customs aimed at separation, primarily by Afrikaner Nationalist in the Clashes between the European settlers and the indigenous people period of 1948 until 1994. (Www.africanencyclopedia.com) dominate the region's history thereafter as the Europeans moved inland. The policy was referred to as ?separate development? and implemented This resulted in what is now the Cape becoming a colony of the British through the population registration act of 1950 that differentiated and Empire. War continued with British expansion, north and east in search of categorised all South Africans into four basic racial groups: Bantu (Black land and labour. This led to wars between the British and both the Xhosa in African), White, Coloured (Mixed race) and Asian (Indians and the now eastern province and the Zulu in the now Kwa Zulu Natal. Over Pakistani's). Apartheid policies were continuously maintained with the time, the discovery of diamonds and gold led to further European passing of a series of acts and laws aimed at minimising the rights of Dominance, leading to concerted drives by the British to take control of the people of colour including limiting their right to own land, and prohibiting of land, the mines and the people. (De Kiewiet, 1937) contact between races, segregation of public amenities and difference in standards etc. It also served as the foundation for a series of laws that The rush for gold also led to inter European wars between the British and allocated social advantage based on racial differences. the Boer Republic. The British defeat of the Transvaal and Orange Free State led to the formation of the Union of South Africa and the solidification The Group Areas Act (1950) and the Natives Resettlement Act (1954) were of white rule. After several decades of power struggles between the British systematic implementations of racial segregation of residential areas. and the Afrikaner nationalist parties, a narrow parliamentary victory by the These acts were used to justify forced removals and relocation of entire Afrikaner based National Party (NP) in 1949 led to a shift of power. The African, Coloured and Indian suburbs. This forced separation was Afrikaner nationalist at the time composed just ten percent of the national implemented through the reservation of Separate Amenities Act (1953) population. They soon started implementing policies which would later which enforced the separation of public facilities. Separation was thus lead to the creation of Apartheid. enforced through the creation of the ?Native? as other and the erasure of the individual identity of people and replacing it with numbers. denI tity and Culture c tin Ar hi ecture 57 C p er: 4ha t ec ion: 4. S t 1 denI tity and Culture c tin Ar hi ecture 58 C p er: 4ha t ec ion: 4. S t 1 A combined effort of all oppressed people, international aid and sustained South African architecture has over the last 13 years produced a range of pressure on the apartheid regime led to the fall of the system and the buildings that are driven by an agenda of finding, understanding and implementation of a democratically elected government in 1994. South applying local culture and craft in its design. Africa, today finds itself in a transitional period of change where government is implementing policies aimed at achieving reconciliation and The following buildings have been selected for analysis due to the fact that reconstruction of a once divided society. they fall within the category of building described above. They also represent and pay tribute to a range of divergent local histories and Thus far we have established how memorials and museums have, on a identities, and as such are markers of our national aims of nation building. global scale, embarked on preserving the memory of struggle and other tragic events. Architecture through the creation of space can be seen as a means to create physical representations of the past that may serve as beacons of light as we seek guidance, hurtling forward into the future. South Africa as a nation, in its infancy as a democracy, creates a platform through which architecture may comment on and document and play a role in representing this new found freedom. The Apartheid government used the slogan 'unity is strength' during its reign of terror. This sentiment has been replaced in the new South Africa in the concept of 'Strength through diversity,' as its guiding principle. Architecture through its potential to represent the ideals of a now united nation can play a role in emphasising this notion. ?Diversity can be lived as a positive experience only when we as individuals develop a critical understanding of who we are and where we come from. Our understanding of the past is a necessary recondition for our ability to embrace the future.? (Deckler, 2006:9). denI tity and Culture c tin Ar hi ecture 59 C p er: 4ha t ec ion: 4. S t 2 4.2) Apartheid Museum By Gapp Architects, Mashabane Rose factor in society and manifests itself in the form of racial tension, ethnic Architects, Britz Roodt Association & Linda Mvuzi conflict and even xenophobic attacks. It is an ongoing representation in that the museum displays are not seen as permanent but a form of ?Tourist take time continuous reconstruction, out f rom thei r creating link between past, gambling routine present and future. for a walk through i t s e x h i b i t s . ? It is also worth noting that, it is ( B r e m n e r , not just the contents of the 2002:34) museum that tells a story. The impact of the container, i.e. the The location of the Apartheid Museum is situated in Gold Reef city casino. building is just as powerful in This is quite surprising especially when one considers that the primary aim t he apa r t he id museum of the building involves the housing of exhibitions relating to the most experience. traumatic period in our nation's history. However upon closer analysis, one comes to the conclusion that the location is successful in that it is The building does this in a variety of methods that induce different located in the vicinity of another public space. This in a country such as emotions within the visitor. The museum uses both literal translations and ours, that has yet to foster a museum visiting culture in the greater public, is symbolism to display the relationship of apartheid and vices such as of even more importance to the sustainability of projects of a similar nature. imprisonment and loss of control and power. Apartheid was a time of The apartheid museum may be described as an experience or narrative imposed restriction where, things that are taken for granted today, such as that gives the visitor a profound insight into the conditions and effects of where to sit eat or walk etc. was governed by others in accordance to the apartheid's traumatic past. It does so by using a variety of mediums and colour of your skin. discourses. This is reconstructed in the built form in great detail. In the literal sense for Even though the museum is concerned with the preservation of memory, it example, windowless walls, stone packed in steel cages and lift shafts that plays an even more important part in that it is a reminder to all South resemble prison towers are used. This leads to the museum resembling a Africans, that the consequences of apartheid are not forgotten. It is still a building that resembles a prison rather than a museum. Metaphorically, the The Apartheid Museum (Bremner, 2002: 35 ) The Cold Apartheid Museum Interior (Bremner, 2002: 35) denI tity and Culture c tin Ar hi ecture 60 C p er: 4ha t Se tion: 4.2/3 c building reenacts the feelings 4.3) The Nelson Mandela Museum that one would have been By Cohen & Juden Architects, Dirk Le subjected to during apartheid. Roux, TCN Architects This is done by invoking specific feelings within the viewer such ?The road and journey has become the as manipulation and control by metaphor and also overall spatial using a series of ramps that ordering system of the museum.? (De creates a sense of lack of control. Beer, 2003:25) Materials that are cold and neutral with institutional, crude There is a Xhosa tradition that a young man must venture into the world detailing that makes one feel and achieve his objectives. When he returns home, he must bring with him unwelcome. This is further evidence of his accomplishment. accentuated by the fact that one is not allowed views out of the building. The Nelson Mandela Museum, The museum is successful in that it reinforces and deeply informs the situated in close proximity to viewer of the brutality of apartheid. Like the Jewish museum in Berlin the Mandela's birthplace, Mvezu may be museum could be empty and still give a detailed encounter of the apartheid seen as a symbolic return and display era. of Mandela's achievements. The concept of collective memory is a very powerful tool. The The museum serves as a relevant Apartheid museum is an appropriate case study as it clearly case study in that it is concerned with illustrates the notion that collective memory is a very powerful the preservation of memory and uses concept and that architecture has the potential to be its most traditional methods such as the powerful exponents. display of relevant artifacts. The primary concept however is innovative in that the museum serves as a cultural working space for communities as The Apartheid Museum (Bremner, 2002: 42) The Apartheid Museum Section (Bremner, 2002: 43) The Nelson Mandela Museum (De Beer, 2003: 27 ) Traditional Materials Used Innovatively (De Beer, 2003: 27 ) denI tity and Culture c tin Ar hi ecture 61 C p er: 4ha t ec ion: 4. S t 3 well. The museum provides facilities that In this museum this concept is carried out via ceremonies, rituals and other address the identified needs of the repetitive processes that reinforce the user's memories and their link to the community. These facilities are seen as a place. method of preserving and sustaining the memory, and culture of the community. Creating places of memory that have functional capacities with an emphasis on participation allows one to gain a better understanding The concerns that were identified included of the historical message being portrayed and helps them to better the lack of employment and the shortage of understand the uniqueness of that particular place and the identity of important resources such as water. The its people. project not only addressed these needs but also created jobs during the construction of the project, empowering the community with new skills and creating sustainable employment sources within the tourism industry. The museum acts as an effective community gathering tool, encouraging d e v e l o p m e n t a n d c o m m u n i t y empowerment. The museum enforces the notion that memory is linked to experience. What the user encounters, will only have a lasting image in our mind if it initiates a discourse with us intellectually. A person is more likely to recall something that they are allowed to interact with physically and constructively as opposed to just visually.The Nelson Mandela Museum (De Beer, 2003: 29 ) denI tity and Culture c tin Ar hi ecture 62 C p er: 4ha t ec ion: 4. S t 4 4.4) Gateway to Robben Island .At the same time By Lucien Le Grange the building is also inwardly focuses around a courtyard that acts as a central exhibition w h i c h i s a n abstraction of the Section B Prison courtyard. This emphasises the concepts of contrast, opposites, lights and dark spaces, heavy and light materials, open and closed. The building also houses secondary functions such as a museum shop, restaurant and four multifunctional exhibition spaces as well as offices, The Gateway to Robben Island building emerged from the need to mark meeting rooms and an auditorium. the departure point of the journey to Robben Island. It addresses the need The Gateway to Robben Island to celebrate the memory of Robben Island and those who were imprisoned was selected due to the fact there and also provides other utilitarian functions. that its conceptual principles and design were generated by It serves as a transitional space between its commercial setting in the V&A the context in which it is sited Waterfront and its primary purpose as a threshold or gateway to Robben including the history of Island. Robben Is land and the incorporation of built elements The building's transitional qualities are further emphasised in its role as a f o u n d o n t h e i s l a n d platform for preparing visitors for their journey to Robben Island. The strengthening the link between building is also the transitional space between land and sea. Transparent the two. It also gives insight facades are used to allow views to the former prisoner's departure point; into how one would go about the harbour mouth, the city of Cape Town and Table Mountain as they initiating movement through a sequence of different spaces. move through the building view of building across public square, with clock tower on left (DIGEST internal exhibition court and harbour prospect (DIGEST plan (DIGEST 2003:19) section (DIGEST 2003:19) denI tity and Culture c tin Ar hi ecture 63 C p er: 4ha t ec ion: 4. S t 5 4.5) Red Location Museum The museum is the first of seven buildings planned as part of a new town By Noero Wolf Architects centre precinct that aims to act as an economic and developmental catalyst within the area. The museum derives its physical structure from a The red location museum of the People's reinterpretation of the memory box, which was inspired by boxes used by Struggle in Port Elizabeth was designed by migrant labourers to store their belongings whilst they were away from Noero Wolff Architects and opened in 1998. home and family during lengthy periods away and helped them to maintain The museum is situated on the outskirts of a sense of belonging and identity whilst they were away. Port Elizabeth in Red Location- the first Black township established in Port Elizabeth. Red Twelve 6m x 6m x 12m boxes clad in rusted corrugated sheeting are location and its surrounding area was an arranged in rows within the main exhibition area. These structures mimic important site of resistance during apartheid the surroundings of the museum, these being the shacks that the people and produced many key members of the stay in. The outside of the box represents the future and the insides of the struggle such as Govan Mbeki. The name box represent the past. The spaces between the boxes represent the Red Location derives itself from the twilight of memory (present), symbolic of the boxes slipping from present to corrugated iron building in the area that over the past. The contents within these boxes will be changed periodically so time rusted to a deep red. Its presence today that it continually represents the shifting cultural climate of the area, thus serves as a reminder of the political and social ensuring the museum is continuously growing and not fixed to one period struggle that took place in its vicinity. or era. The contents of the box are designed by the community and as such provide a platform through which they are allowed to tell their story. The Red Location Museum (Deckler, 2006: 44 ) The Memory Box (Deckler, 2006: 44 ) The exhibition space has transitional zone between the museum and its surroundings. The entrance no prescribed route, so is marked by an extended timber porch which acts as a public gathering visitors are encouraged to space, thereby creating a similar effect. The L-shape footprint of the explore and to interpret building is used to create an outdoor grassed area which has a cinema the contents of the screen and is capable of seating an audience of 250 people. museum as they choose. This concept of freedom of This museum was selected as a case study due to its highly choice is extended to the innovative ways of addressing issues of history, documenting materials and overall form struggle and identity through individual and collective experience. o f t h e b u i l d i n g i n The building makes use of both metaphor and literal recollection to i n n o v a t i v e w a y s . produce a powerful and inspiring piece of architecture in an unlikely M a t e r i a l s s u c h a s setting. concrete blocks and saw tooth roof forms give the In 2006 RIBA launched as award for the best work of architecture by an building an industrial feel institute member outside the European Union. The award compliments the which at first seems inappropriate. When one considers that factories much coveted Stirling prize, which is dedicate to work within the European were seen as sources for employment and therefore opportunity and hope, Union. It is of no surprise that the Red Location Museum was selected as there materials chosen provide the museum with a different persona. the first recipient of this award. The immediate context surrounding the museum is that of informal housing, which makes the museum a foreign object in terms of scale. This however distinguishes the museum as a tangible symbol of the historical struggle that took place within the area in the past and represents a new urban prototype in the present, which provides a sense of optimism for the future. The museum connects with its context in different ways however. The eastern side of the museum is designed as a wall with seating, and a children's play area with parking facilities for taxis thus creating a 1 2 3 4 Urban Context (Deckler, 2006: 43 ) 1 - ENTRANCE PERGOLA 2 - CHILDRENS PLAY AREA + TAXI FACILITES 3 - GRASSED OUTDOOR AREA 4- LSHAPED MUSEUM denI tity and Culture c tin Ar hi ecture 64 C p er: 4ha t ec ion: 4. S t 5 Urban Context (Deckler, 2006: 44 ) denI tity and Culture c tin Ar hi ecture 65 C p er: 4ha t ec ion: 4. S t 6 may be construed or misinterpreted as propaganda, no matter how noble 4.6) Identity in South African Architecture intentions may be. ?Our biggest unfinished project -'nation building,' (Deckler, 2006:9) might seem to be the noblest of aims, warranting the The advent of Democracy in our Country marks a transformation that has manipulation of the past. Ultimately architecture of this nature must be occurred successfully in very few countries in world history. The buildings symbolic of ideals such as objectivity. In failing to achieve this, it degrades analysed are borne of opportunity. They respond to the need to document into nothing short of a short term political tool. and celebrate the unique South African story of a peacefully negotiated revolution. They are archives of documentation and knowledge but it may At the celebration marking the release of the list of the 100 best books from be argued that they are also guardians of national identity, memory and Africa of the 20th century, Professor Njabulo Ndebele (author; Chairperson history. of selection committee and Vice Chancellor of University of Cape Town.) drew comparisons between the rise and fall of the South African state and In similar fashion as global museums and memorials, these buildings may that of the publishing industry. He further substantiated these similarities also be seen as part of a bigger framework of ?manufacturing a new by establishing common ground between the erosion of public rationalism from painful memories and shattered and mutilated bodies.? infrastructure with the deterioration of culture postcolonial. He (Robins, 1998:138). This raises the question of whether traumatic acknowledges institutions such as the African Union and The New memory is better than an absent memory. In response to this, an Partnership for African Development (NEPAD) as likely sources for hope in acquaintance of mine who accompanied me to the Apartheid Museum resurrecting and informing culture. It was however the production of commented, books, art, music and film that he suggested serves as a yard stick for measuring a cultural transformation. ?I think this is very important. After visiting the Apartheid museum I was filled with enlightenment, but also hatred toward those who imposed such Kenwyn Sole, an accomplished poet and academic responded to this and a system. I understood the frustration of ?black? people and felt that their the selected books by criticising the list for being 'over replete with old violent protests were required and necessary to put an end to the system.? chestnuts' and bordering on the politically correct (Low, 2003:34). (Ramjee: 2007, personal correspondence) In 'Space and Transformation: Architecture and Identity,' Ian Low states These buildings are undoubtedly a symbol of and a tool to a broader that the built environment of today is suffering from a similar condition, and transformation process. In theory they should not indulge in anything that suggested that architecture may be just as crucial in analysing our transformation. The argument has merit if one draws an analogy that design was used as a weapon to implant and maintain the stranglehold of successful architecture like good literature has the ability to transcend apartheid. Our responsibility as Architects and the importance of our time, through a deeper understanding and by its ability to draw parallels to decisions cannot be over emphasised especially where one realises that our everyday lives cultivates a familiarity that leads to its acceptance. we are still enduring the legacy of apartheid space planners today. The importance of culture is of even more importance in South Africa. Its South Africa's history is a complicated story of different people with diverse history is a result of the arrival of a variety of people from all over different backgrounds. South African memorial architecture needs to the world who have brought with them their own cultural requirements and address a variety of issues including equity and transformation, not just tendencies. South African history has documented how over a period, at heritage. various instances, one dominant group, (often not by numerical advantage) has suppressed the cultural pattern of another group for the In delivering a lecture at the International Conference: People Building simple reason that they were deemed to be a threat or inferior. In the Better Cities, (Held at WITS, 2007), Jo Noero referred to memory as a very process, our country has lost a part of itself, a certain richness of history personal thing. By its very nature it excludes other stories and pluralism. which has been denied to many generations. One assumes that these In the design of the Red Location Museum he attempts to deal with this by occurrences are isolated only to colonial times and during apartheid. providing a series of memory boxes allowing different stories to be told. He also concedes to the fact that the museum is still an attempt to tell the story These legacies cannot be liberated overnight. Our country is still largely of Apartheid from an Eastern Cape viewpoint. It tells a story that is not just influenced by out torrid past. South Africans have failed to reassess their shackled to apartheid, or its depiction as a Black struggle only. He understanding of the uniqueness of our country and events that have attempts to tell a story that goes back 4000 years. As such the product is a occurred in our collective history. A legacy that has moulded us and the building that is undeniably unique and representative of its context and its way we live and perceive the unknown in each other. construction represents a huge landmark in the lives of the people who are represented by it. Apartheid and Colonial SA may be a part of our history but it is a valid point that we are yet to truly move beyond the polarity of racial classification. We see a similar analogy in the content of the Apartheid Museum, which Architecture through its ability to transform a space has the potential to actually tells the story of Apartheid from the Johannesburg point of view. At give us a better understanding of identify in our multiverse culture. This the risk of being trivial, I couldn't help but notice the use of indigenous grass notion is of greater significance in a society in which space though its which was highly reminiscent of the Johannesburg veld landscape. Yet denI tity and Culture c tin Ar hi ecture 66 C p er: 4ha t Sec i : t on quite different from the lush green landscape, that I as a proud Durbanite 4.7) Designing Places of Memory have grown accustomed to. It is highly important to note that in responding to apartheid and being the first of its kind to do so, the museum addresses Throughout the analysis of museums thus far, there have been common and commemorates a nation's troubled history, which is something any elements that all the case studies have alluded to. They have all attempted South African can relate to. It may also be similarly argued any foreign to, through the built form to create a narrative, in order to inform the viewer visitor may also draw parallels with the museum as it resonates and of a certain past. At the same time, it is also not merely an archiving or reflects a part of them, a part that is undeniably inherent in us all, the documentation of history. In reinterpreting the past, they have attempted to human element, a common and binding condition as opposed to race, create a platform that assists the viewer in making an assessment on their gender of class which separate. own particular situation in the present in order to assist them in making an informed decision to the future. As such these museums and their contents The importance of this point in our adolescence as a democracy cannot be will have a varying impact on every viewer. This does however raise the overstressed, especially in our current context that often gives rise to question as to the role of the viewer in the museum. How is it that people misunderstanding and miscommunication. To refer back to Jo Noero's react to a common element in various ways? These questions may be lecture, he states that the politics of culture and identity is still of a primitive answered through an attempt at understanding the process of viewpoint in South Africa. ?There are no quick fixes but architects can remembering within the individual and the factors that inform it. respond to that. Architecture can be provocative and create debate. How we handle it, is important.? The meaning of memory has already been defined as something that one has gained through an encounter or experience. This then contributes to Architecture may allow people to find their voices and express themselves. our knowledge and as such becomes an indistinguishable part of our A celebration of diverse cultures as such. consciousness. Our consciousness may then be defined as a response to a collation of our experience or occurrences. When one responds to an event, their actions and what they remember is as such informed by perception created from past experiences. Memory therefore may be further defined as the outcome to a sequence of events that induce a reaction from the individual based on unique experiences from his/ her past. As such memory within an individual may be seen as self denI tity and Culture c tin Ar hi ecture 67 C p er: 4ha t ec ion: 4. S t 7 referential and in a continual state of change based on what that person is the sense of openness and light within a courtyard may be heightened if experiencing. one had been through a narrow dark space before it. As such the decisions we make are not only informed by what we The Interpretation of Memory: encounter but also our past experience that dictates how we respond. As such, our thinking process is in response to a procession of events. In light of the above, we may deduce that the memory of an individual is very unique and very personal. Therefore a person may only describe a This analogy has direct implications in terms of the narrative that a memory or experience. What is actually conveyed or displayed is open to museum may be producing through its route. Architecture or a journey interpretation to the second party. The person listening will pick up on through it should be seen as a sequential experience, meaning that the certain aspects of the experience portrayed. As such every recollection is manner in which a person reacts to a specific space or exhibit will be subject to interpretation not only by the person who is telling the story but informed by what they have experienced before it. For e.g. in the museum highly dependent on the person listening to it. of apartheid one encounters a casspir, and is allowed to interact with it and Therefore when dealing with memory in architecture, we should always sit in it, thus allowing one to experience it from a variety of perspectives. attempt to create common points of reference in attempting to convey a One is allowed to experience it from the inside of the vehicle looking out but message through a narrative. At the same time, the architecture must be also the perception of the vehicle form the exterior. One is allowed to subjective. Memorial architecture should allow for the viewer to interact experience the casspir through a perception that is crated via the senses, with the memorial, in an open subjective manner. This allows them to in reaction to the casspir. It's overwhelming presence, the touch of cold interpret the memorial through a process of understanding and recognition steel whilst inside it. Further on, through the apartheid experience one is based on their own memories and experiences. shown videos, depicting the casspir in its use as a vehicle of terror in The Uniqueness of Memory: townships. Ones reaction to this video can only be heightened by the emotional, sensual and psychological effects that are felt when in the Spaces of memory should allow individuals to, through a process of self presence of the casspir. Without having actually seen the casspir, one interpretation; identify similarities and contrasts, with other users of the would never actually be able to perceive or imagine the terror going space. The memory space must act as a platform that induces interaction through the minds of those running for their lives, as shown in the videos. and dialogue. The experiences of a journey through a memorial space must also be seen as a process of self discovery and should also be seen This analogy should also be applied in terms of the creation of space e.g. as an insightful experience. By being introspective, a person must be able denI tity and Culture c tin Ar hi ecture 68 C p er: 4ha t ec ion: 4. S t 7 to alter misconceptions in their past, that reformulates their future actions. ?Effectively and thoughtfully combine architecture and subject matter The memory space itself should be also be in a cycle of constant change within it as a cohesive unit. and growth to reflect ideals that are of relevance of the present time. The ?Incorporate sudden changes and periods of lulls that may heighten the meaning should also be subtle enough to allow different visitors from experience and impressions created by the space. different backgrounds to formulate multiple interpretations. It must also be ?Avoid simplistic repetition which is appropriate for academic displays but factual to a certain extent ensuring that those who have knowledge of the does not capture the required emotion and meaning required for memories event may also gain an understanding. of the past. ?Create elements and moments that create spaces charged with emotions The case studies that have been discussed, depict the extent to what Post and meanings. Modern memorials have used a unique blend of formats to depict the ?Make use of metaphors embedded in several layers of meaning that allow enormity of tragic events in their entirety e.g. holocaust via the use of a for diverse interpretations. statistic depicting how many Jews tragically lost their lives in the ?Avoid the creation of a memorial that is too specific that may hinder the concentration camps. At the same time they make use of personal multiple meanings and limit the personal insight that members of the public experiences and individual stories. may add to the space. ?Use of abstract constructions that allow each individual to read their own Possible Design Initiatives (By Author): memory within the confines of the space. ?Avoid exhibits that in being too abstract may exclude people without prior Through the process of creating memorial architecture one should attempt knowledge. to fulfill certain criteria such as the need to: Find an adequate form of ?Avoid exhibits that are too literal and do not allow for individual expression for the suffering. interpretation. ?Simultaneously look to the future and to the past while being in the ?Find a balance between simplistic literalism and abstraction. present. ?Consider all the human senses especially in light of the fact that memory is ?Ensure that, in building memorials to remember, we ourselves should made up a series of reactions that are in some way recorded by all our never forget. senses. ?Challenge the viewer through a process of interaction. ?Create an icon or landmark (monument?) for the event being ?Transcend political and aesthetic liabilities, historical revision, and the documented. erosion of memory and limitations of culturally specific iconography. denI tity and Culture c tin Ar hi ecture 69 C p er: 4ha t ec ion: 4. S t 7 4.8) Conclusion today. In a similar vein architects need to establish a process through which cultural pluralism may be portrayed in architecture. This diversity South African Architecture for an extended period of time searched for may be commented on through a design process that is driven by and what was referred to as an African architecture, to reflect a new found acknowledges the social-political history or different perspectives thereof. identity. The continuing growth of Tuscan Villas in our suburbs is In our quest for a unique relevant architectural language we must diversify testament to the fact that this search has not bared fruit. Perhaps the our sources to include both global and local discourses. Architecture has terms African architecture or African identity is too broad: surely to vague to bear the burden of being an undeniably integral aspect of nation to represent the diversity of our cities, and definitely not a nation or building. Especially through works of cultural significance that begin a continent. process of engagement of differences that will ultimately reshape the South African landscape. The Red Location Museum and the Apartheid museum offer clues to how context has been used to produce a building highly particular to its If architecture is to serve as a platform for new transformed identities, it surroundings, and architecture as a canvass to showcase how different must begin to engage in the unknown but also by deriving inspiration from cultures do things differently but also how this can reveal common linking existing Sound African architectural heritage thereby providing a historical elements. commentary. This development must encompass a fusion of traditional and non traditional styles within a context of influential political, social, 'Difference,' today seems to be about identity ? we think of race, gender, or educational and colonial influences through time and space. class. Aristotle meant something more by difference: he included also the experience of doing different things, of acting in divergent ways which do The Nelson Mandela Museum provides insight into how architecture not neatly fit together. The mixture in a city of action as well as identity is the through the use of traditional and contemporary forms along with a foundation of its distinctive politics. Aristotle's hope was that when a person combination of memorialisation and service provision can encourage new becomes accustomed to a diverse, complex milieu, he or she will cease forms of interaction. Through its diversity in the use of a dual programme it reacting violently when challenged by something strange or contrary. has laid the foundation for new encounters between tourists and rural Instead, this environment should create an outlook favourable to inhabitants, permitting meaningful exchanges between people previously discussion of differing views or conflicting interests.? (Low, 2003: 35) separated by time and space. The architecture has evolved into an South African architects have a crucial role to play. In an era of instrument of mediation to the benefit of all in the most unlikely of meetings, globalisation, Aristotle sentiments transcend time and are still relevant through spatial innovation, made to be all the more significant in its elegant denI tity and Culture c tin Ar hi ecture 70 C p er: 4ha t ec ion: 4. S t 8 denI tity and Culture c tin Ar hi ecture 71 C p er: 4ha t Sec i : t on simplicity. events that have occurred in them. Our immediate environment should be seen as a resource, a connector, a common thread that that connects us This line of thinking may have a role to play in the reinterpretation of our all. The presence of areas of commonality must be present on order to urban cities. By responding to the unique needs, wants and desires of perceive diversity positively. Contact with different cultures or individuals different identities but also by creating opportunities for discourse between will raise concerns over identity. The functions of boundaries and public these groups and responding to the needs of all members of our space should however be seen as areas and opportunities of facilitation heterogeneous society. rather than as a tool to prevent interaction. As a nation, South Africa continues to grapple through a process of In the formative years of democracy, South African architects, as seen political, economic and social transition. The fact that South Africa is under through the numerous case studies mentioned, have created a number of majority rule should never lead us to assume that our history which is a museums that have begun to respond to the sensitive issues of telling the story of dominance and subordination will cease to have existed. nations legacy of struggle. This does not detract from the need however, to Architecture will have a role to play in the process of democratisation. But respond to the other strands of the multiple histories that is our past. As democracy in its true form is a concept that is not instantaneous, and architects we still have to continue to respond to the need to find innovative should rather be seen as a goal that needs to be worked towards. ways of recomposing our history in a manner that is accessible to future Democracy acknowledges difference, what is critical is, that it allows for a generations. difference to exist or co-exist. Our cities, the built environment, represent the best opportunity where architecture may inform this concept. In designing for diversity, the arrangement and use of space is critical in the facilitation of the dual purpose of the expression of diverse cultures, and at the same time optimise possibilities of co-existence, communication and active cooperation between all South Africans. ?Everything that makes human life ultimately satisfying is specific to personality, culture, time, place and circumstance.? (Greenbie, 1976:93). Architecture has the power to write history, inspired by place and the Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural 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Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural L B L AT O & N SI N RE LI G O A IS G MIO A H RC CTUREIN TA I E C H A P T E R 5 27 5.1) Globalisation we know it is constantly changing. History has shown us that human kind has always been fascinated by the This phenomenon has had an effect on people all over the world, unknown. This sense of curiosity that is embedded in us all led to the threatening livelihoods, cultures and their way of life. Whilst globalisation invention of the wheel, to Columbus' preoccupation with the horizon, and has led to increased production, it has led to a divergence in cultural till today the search for knowledge, has ensured that humankind is relations, and has emphasised widening cultural differences leading to constantly growing and achieving what was once only dreamt about. conflict, inequality and segregation with people isolating themselves within their own communities in an effort to protect their way of life. Globalisation is the term given to the current surge in advancement in Is globalisation just an evolutionary process that people should just adjust communication and transportation and is a continuation of man's sense of to? Or is it possible to maintain cultural integrity and religious identity while exploration. at the same time maximise the interaction of different people, organisations and countries. More importantly what role can architecture The advancement of technology has led to the formation of a global play in this process? economy, with international markets aimed at international trade. Money, technology and raw materials may be exchanged across national borders 5.2) Regionalism with ease. The international style was initiated by the school of Bauhaus, to which Globalisation at its best has provided us with many advantages but it must Walter Gropius was a part of. It introduced to the world a style of also be held accountable for creating widespread suffering, disorder and architecture that did not take into consideration, its regional context. In unrest. The spread of information has tended to promote Western ideals response to this, the architectural theorist, Lewis Mumford, introduced the of capitalism. concept of regionalism. He challenged the absence of a sense of place, Globalisation has led to a number of social, political and economic and raised many questions with regards to globalisations and the lack of changes and interaction across vast distances. diversity in architecture at the time. He called upon architects at the time This exchange of information between different cultures has been taking to, ?recognize the value of the singular, in relation to physical, social and place for thousands of years, but in today's world, faster airplanes, cheap cultural constraints of the particular, aiming at sustaining diversity while reliable telephones, email, internet and vast fleets of ocean traversing benefiting from universality.? (Lefaivre, 2004:20). vessels have ensured that we are more interdependent than ever. Life as denI tity and Culture c tin Ar hi ecture 73 C p er: 5ha t Se tion: 5.1/2 c Mumford emphasised five points that he felt architecture should adhere to not perceive them to be polar opposites. As such he felt that every culture, in finding a balance between global influences and the vernacular or local. though specific to its place, had elements that were universal to all cultures. He also stated that culture should be open to influences from ?Architecture should never imitate the past, but should be informed by an other parts of the world, in order to gain knowledge that would allow them to understanding of it. Any attempt to imitate the past would lack the meaning optimise the local resources they had. All cultures should be open to that was present at the time of its original conception. The past should only experimentation but should never lose sight of its unique perspective, be recaptured in spirit. The past should only be used to assist us in values or integrity. determining how to respond to our current problems so that we may solve them with the same vigour as those in the past. This theoretical viewpoint was further developed in the later part of the 20th century, most notably by the theorist Kenneth Frampton. He coined the ?Architecture should reflect the diverse perspectives of different cultures term ?Critical Regionalism? in response to the misconception at the time with regard to the relationship between man and his environment. He that regionalism was a style as opposed to a design tool. proposed that architecture should ensure that people are always in contact with his natural environment which was a source of energy and vitality and He went on to state that ?The fundamental strategy of Critical Regionalism a means as such to uplift the human spirit. is to mediate the impact of universal civilization with elements derived indirectly from the peculiarities of a particular place.? (Frampton, ?The design process should also be driven by an embrace of technology. 1980:315) Architecture at the time was experiencing a lack of diversity due He felt that technology, had a role to play, but that its application should be to Globalisation. He proposed Critical Regionalism as a form of resistance, done in the appropriate circumstances when it was the most logical in a bid to develop architecture that took into consideration, the unique conclusion and sustainable. qualities of context. ?The built form should reflect the purpose and ideals of its time and in Emphasis must be placed on acknowledging the identity of a place. This achieving this, it would lead to the identification of common aspects may be done by references to regional spirit, culture, history and other between different communities. Through this, exchanges of knowledge elements that are unique to a place. At the same time we must participate would occur, creating communities that were multicultural. in a global discourse to find a balance between tradition and innovation. This may lead to a more expressive architecture, providing a more diverse ?There should be a balance between globalisation and regionalism. He did and relevant range of experience. Thus emphasising notions of home, denI tity and Culture c tin Ar hi ecture 74 C p er: 5ha t ec ion: 5. S t 2 identity and culture, as well as an embrace of universality. Symbiosis according to Kurokawa is a philosophy that allows us to mix opposites within our way of life or aesthetic. Through his theory we may 5.3) Symbiosis begin to understand how buildings may be used to interweave dualities including debates such as eastern philosophies versus western ideals, The Japanese architect, Kisho Kurokawa, is known as man with wide abstractions versus representation, organic versus rational, past versus ranging interests. He plays an active role in politics and is equally present and future. Through his design process he refuses to accept these respected as a philosopher. It is testament to his abilities that despite this concepts as polar opposites, nor does he merge the differences in these he continues to grow in stature as one of Japan's most prominent and points. He rather attempts to acknowledge these opposites and find links controversial Architectural figures. between them. His theory, Symbiosis, is relevant in the context of this study due to the fact Through his designs and theoretical works, he has developed his concept that it suggests an innovative way of interpreting culture in today's climate. of Symbiosis that states that architecture is an expression of an age. He It emphasises a mixing and matching as opposed to starting from scratch, identifies our current climate as the information age. A time in which thus promoting concepts of inclusion rather than exclusion. technology, especially communications technology, has led to the increased need of meaning in architecture, and the incorporation of Kurokawa analyses the confrontation between eastern and western symbolism in its creative process. In other words, an intercultural philosophies, and is interested in the recognition of each other's architecture. personalities and their differences. There is potential in being truly intercultural, and in combining eastern and western philosophies, both Architecture should not be seen as a self enclosed entity or a holistic ancient and modern. answer in the production of meaning. It is the process that begins to define a relationship between architecture and its context that will provide We are at a point in time where identity is constantly being evaluated and meaning. Kurokawa focuses on intermediary zones such as between different cultures are mutually influencing each other but remain distinct, public and private, the part and the whole, individual and society, the built adapting to its own specific culture and climate. We must be open to form and the natural environment in an effort to link these fragmented flexibility and adaptability in order for the identity of a culture to grow. aspects. (Kurokawa 1991: 120) The theory of intermediary space was created in direct response to the denI tity and Culture c tin Ar hi ecture 75 C p er: 5ha t ec ion: 5. S t 3 need for restoring the richness and variety in architecture that had been cultures live in symbiosis, a richer world. The creation of those spaces will diminished with western philosophies of dualism and binomial opposition. encourage the user to re-evaluate their identity, with the aim of finding Through his work Kurokawa displays how intermediary space may act as a multiple ways of reading and interpreting the architectural expression. common element in oppositions between individuals or even different cultures, allowing them to attain a state of symbiosis. 5.4) Diversity in the context of Regionalism and Globalisation: Architecture may be created by identifying the different elements that are Mass productions and standardisation was strongly advocated in the required. They may be reassembled by analysing the distinct space and its 1950's when modernists stated that the world should be seen as a connection to intermediary spaces. The use of these spaces between universal entity. primary elements may serve to produce a flowing, dynamic intercultural architecture, with deeper meaning that is no longer dependent on just ?Recognition of the inextricable interdependencies between the function or reason. characteristics of place, people's activities in that place and the emergence of cultural expressions and forms ? the triad of 'PLACE, WORK, FOLK'? Symbiosis is highly responsive to the need for architecture to reflect the (Dewar & Uytenbogaardt, 1991:13) increased relations between different cultures and thus reflective of societies today. It is important for our built form to reflect the technological Regionalism and contextualisation were philosophies that were developed improvements that have led to free and dynamic relations, be it in direct response to modernism placing emphasis on unique elements internationally, or different individuals. The use of abstracted form has the within a place such as climate, culture and environment, which are integral potential to provide a familiarity, to different cultures, and a unique in the pursuit of a regionalist architectural typology. significance through its universalism, a symbiosis of different cultures. However in the current context of globalisation, the concept of regionalism Kurokawa openly accepts that modernism in architecture has to be had to consider ever changing times and technologies. The boundaries revised, however we must consider what aspects of modernism we aim to between traditional national identities have been blurred. On a national keep and what may be changed. We must transcend the concept of Euro scale this has served to be a positive influence with a weakening of cultural centrism, where progress is assumed to be an adoption of western culture barriers, but it has also led to over emphasis on Eurocentric or westernised to a more logo centric belief with emphasis on universalism. Symbiosis architectural trends. There has been a concerted effort in creating a aims to provide an architecture that produces a world in which more national identity. However as a result of constant change the built fabric denI tity and Culture c tin Ar hi ecture 76 C p er: 5ha t ec ion: 5. S t 4 may only symbolise identity with reference to a society or individual at the Culture, due to a variety of factors such as globalisation, should not be current point in time. interpreted literally. Architecture should be borne of a diverse range of influences where no one typology is given emphasis. This allows In a world that is being increasingly influenced by the western way of living, architecture to maintain integrity and to exist without being imposing. we have seen the standard of living being drastically improved in many However architecture by its very nature is highly subjective to the people regions of the world. The spread of westernisation has led to countries all who inspire it and it is a means of telling their unique story. These over the world placing emphasis on achieving first world status which has a associations are vital and can only be ignored to the detriment of diversity direct implication on the potential wealth, success and power of a country. in our urban fabric. But this has come to the detriment of local cultures and traditions, resulting in a homogenous or universal culture in most aspects including South African architecture has evolved in a context of fear in terms of architecture and social structures. celebrating their roots and diversity of origins of its people. This was magnified by colonialism and then reinforced by apartheid. Even today we What impact does this have on the concept of identity in a world that is live in a society that, at the suggestion of an intervention that does not constantly moving forward on the back of technology? What consequence represent the total spectrum of society, invokes accusations of imposed does this have within the South African context, that is further complicated segregation or in extreme circumstances racism. We need to respond to since it is a society that is made up of a system of woven threads, each this. with their own unique cultures which in their totality form one nation. There is great difficulty in determining what exactly, a South African identity would entail. Therefore, it is difficult to determine a type of architecture that is representative of such a diverse culture. Architecture in this context should therefore be seen as a tool through which, with the use of tangible symbolism as an expression of national identity, may be used as a means of expression. It will be a representation of the values and aspirations of a new and emerging democratic society. Any architectural intervention catering to the public must function as a type of this celebration. denI tity and Culture c tin Ar hi ecture 77 C p er: 5ha t ec ion: 5. S t 4 Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relation Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural A ITEDIA RCH T REIN N C U 87 C H A P T E R 6 6.1) Introduction world. For a country that has preserved its heritage as well as it has is, this is a surprising statement. It makes sense however when one considers the The following analysis of Indian Architecture intends to inform us as to how amount of invasions that have taken place and the many rulers that have Indian Identity has been preserved through the analysis of the work of presided over India within the last 5000 years. The Islamic invasion in the three Contemporary Indian architects. A brief study has been done on year 1200 and the Period of colonialism are the most influential in terms of traditional architecture to gain a basic understanding of some of its primary cultural infusion and impact on the Indian culture. Thought it is not relevant principles in order to understand their application within the contemporary within the context of this study to ascertain how this has happened, it is work. The author concedes to the fact that this section is by no means a worth noting that certain principles were incorporated into the Indian concise analysis of Indian Architectural History. India is a country that is too culture and adapted over time. It further substantiates the notion that no diverse for such an analysis to be carried out within the context of a thesis. culture has not undergone some form of transformation or improvement due to what they have learnt through interaction with other cultures. For the In the search for guiding principles it was found that Indian public purposes of the study however these aspects will be taken, as they are in architecture was of most relevance to the aims of this study. As such both Indian society today, a part of their culture and identity, regardless of its the review of Traditional and Contemporary Indian focuses on this origin. typology. It is further substantiated in that these buildings offer clues as to how identity has been preserved through their architecture. This is due to the fact that public buildings are products of a larger culture. They also allow us to distinguish the basic principles of Indian traditional architecture and to filter the variety of expressions as they change from region to region in India. Religious buildings are, as we shall see part of the everyday and are very much within the frame of Public Architecture. Religious buildings are important within the context of this study as we shall see within the next chapter, they are the only buildings that have been built by South African Indians in South Africa. It is through their religion (a fundamental aspect of culture and identity) that they have maintained links to India. India it has been argued was actually the very first globalised country of the denI tity and Culture c tin Ar hi ecture 79 C p er: 6ha t ec ion: 6. S t 1 6.2) Traditional Indian Architecture Indian architecture has been heavily informed by religious belief, therefore even though a building may not be intended for Religious use, it is of India is the world's second most populous country. Its architectural history importance to understand the link to religion in order to analyse the is one that is as complex as its culture. It's architecture may not be referred architecture. to as an individual entity. Each region generates unique architectural forms and techniques. Each responds to different constraints and opportunities Philosophy of Hinduism: borne out of a unique context, where climate has a primary influence on architectural language as well as availability of materials. This scenario is The word 'Hindu' is derived from the Sanskrit word for river, 'Jindha.'' It is further complicated when one considers that, over time, the architecture used in reference to the people who live in the area around this river. With has evolved due to different scenarios and changing landscapes. the birth of Islam, the use of the word was later expanded to refer to people not of the Islamic faith. This analysis therefore does not try to document Traditional Indian Architecture in its entirety but is rather a documentation of generic Hinduism is not based on the following of a singular God. It is a religion that underlying principles that reflects Traditional Indian Architecture through a is eternal due to the fact that it grows with the principles of new teachers holistic viewpoint. and incarnations over time. Throughout the world, Indians have been categorised as a single ethnic Characteristics of Traditional Hindu Architecture: group. Indians are in fact a multi cultural society from a diverse background that may be divided according to their linguistic differences. Indians speak Hindu architecture derives its principles from reflections of the absolute. a variety of languages including Hindi, Gujarati, Tamil, and Telegu. It is This is represented by a square which is aligned to the four cardinal points wrongly assumed that they are of the same origin. Though each group has of the compass and as such does not change. This square is further its own rituals and may be divided according to their religious beliefs and divided to establish relationships and rhythm. The square, referred to as a architectural tradition, they fall into one of the following two categories, this mandala is projected both horizontally and vertically thereby maintaining a being Hindu Architecture and Islamic Architecture. Religion is inextricably fixed proportion and relationship. It is divided into smaller squares by linked with the everyday life and as such creates a continuously spiritually perfect square numbers (1, 4, 9, 16 etc.). Mathematics is a tool used in existence, and an architecture which is reflective of this spirituality. Hindu architecture, in a multitude of applications in housing, temples and urban design. Using the particular principles of the geometric configuration denI tity and Culture c tin Ar hi ecture 80 C p er: 6ha t ec ion: S t 6.2 allows all architectural elements, including urban scale for new cities and are defined with the centre as a starting point.The Starting poin may towns, to be based on perfect squares. gernerally defined as the centre of two axis. Use of earthly textures and colour is significant in all types of Hindu Attitude to Spatial Organisation: architecture. It is used extensively as a tool to interweave culture into all parts of life to symbolise social status, religion and celebration. 'Layering' is an integral concept in The use of intricate designs and patterns through a variety of different space making, from materials such as brick, stone, fabric, textiles, tiles, screens, rugs, outside to inside, ceramics and pottery is highly prominent, thereby making use of the highly b e i n g a regarded Indian craft tradition. India as such has a rich craft tradition which representation of is evident throughout their work. It is worth noting that this is not unlike the the journey through South African craft tradition. It is an aspect that through the built form may several stages from provide opportunities for interaction and growth, in keeping with the profane to sacred. function of the proposed Trade aspect of this dissertation. The combination of spatial ly diverse Traditional Hindu Architecture Design Methodology: elements and layering is used extensively within the urban context. The result is a 'great deal of informality' (Vankey, 2000: 99) The use of shifting The Sense of Centre and the Statement of limits: axes, diagonal movement within spaces along shifting routes are all diverse aspects that come together within an ideational unity. The Sense of Centre is seen as a metaphysical link to Indian tradition. It is seen as the source of all energy Attitude to Order: and the beginning or origin of creation. This centre is always distinct and clear within the built form, but it In terms of order, Hindu architecture is inclusive as opposed to exclusive. does not necessarily have to be the geometric or Complexity is preferred leading to the more ?difficult and vibrant resolution physical centre. It could be a conceptual, ideational or of divergence? as opposed to the easier resolution of ?reducing them to a manifested centre. Direction and limits of the domain singular identity.? (Vankey, 2000: 99) The needs of different activities, denI tity and Culture c tin Ar hi ecture 81 C p er: 6ha t ec ion: 6. S t 2 Traditional Temple Plan (Bussagli, 1973: 114) Traditional Urban Plan (Bussagli, 1973: 21) institutions or groups of people are brought together as several entities instead of an Disaggregation of Forms: abstract common denomination. The Indian notion of order is used to accommodate the T h e d i s a g g r e g a t i o n o f contradiction of the divergent parts and to architectural form into a series bring them together in totality. This ensures of separate but interdependent an order of tolerance in terms of volumes may be seen in the circumstantial and the imperfect where Indian vi l lages where a nothing is precisely defined but the total sum separate function is carried out of the parts is vibrant in spirit, in life. It is symbolic in that perfection is a i n e v e r y r o o m i n t h e privilege of the all mighty, and the work of man, imperfect. homestead, but with focus on a c o m m o n c e n t r a l o p e n Attitude to Dimensional Order, courtyard. (Kahn, 1987: 166) The resulting pattern of usage throughout the Proportion: day may almost be 'nomadic.' (Correa, 1969: 19) Though this type of planning is minimalist in its conception, it allows for great flexibility and Numbers of symbolic value are used ensures a profound spatial richness. with a symbolic pattern to ensure a link between character and proportion Attitude to Light and Water: through a repetition in process. The mandala is used in the built form to add dimensional order and proportion. Hindu architectural form is a constant attempt in breaking Attitude to Form: sunlight to create shadow. Water in Hindu culture is seen Form is seen as conglomerate, and is treated in a similar as the source of life and is used extensively in Hindu fashion to spatial order. The forms are additive thus. It is architecture particularly in public buildings. The also a coming together of diverse journey to collect water form a step well is symbolised parts to form a complex unity. as a spiritual experience within the built fabric. denI tity and Culture c tin Ar hi ecture 82 C p er: 6ha t ec ion: 6. S t 2 Different Activities around a Common Space (Bussagli, 1973: 126) Mandala (Khan, 1984: 142) Centrality of Coutryard (Bussagli, 1973: 114) Use of Water (Bussagli, 1973: 114) Use of Light (Bussagli, 1973: 114) Complex form of Anciet Indian Temple (Bussagli, 1973: 120) Use of ?Pattern? (Bussagli, 1973: 114) open sky. (Correa, 1996: 18) Attitude to Symbols and Meeting: Spaces that have connections to the sky have practical use as well. In Hindu tradition places particular villages these spaces are used for a multitude of activities such as emphasis on mythology and sleeping, washing and drying clothes, cooking on open fires as well as a symbolism. Symbols are used to meeting place for socialising. (Correa, 1996: 167) In a context where represent the subconscious, space is limited it may represent an additional room. based on deep memories and perception of the spiritual world. Craft Tradition: Symbols are believed to have religious connotation and have a positive influence as long as there is belief and connections with origin and Indian Architecture is derived tradition. Symbols and cultural memory are embedded in form, including from a very strong contextual urban form and is a representation of the ?metamorphic statements of the basis. Use of local materials and culture's ethos.? (Correa, 1996: 18) resources ensures diversity from region to region. This is Connection to the Sky: commonly referred to as the craft tradition. The following section Temples emphasise this discusses how this trait and connect ion by creat ing some of the others mentioned movement along open to sky here are reinterpreted within paths between enclosed Contemporary Indian Archtectre spaces. The built form has been largely influenced by the belief that true enlightenment cannot be achieved within the closed box of a room; one must be outdoors under the denI tity and Culture c tin Ar hi ecture 83 C p er: 6ha t ec ion: 6. S t 2 Religious Symbol, A Swasthika on Door (Cooper, 1998: 85) Rich Craft Tradition (Cooper, 1998: 179) Relationship to sky (Bussagli, 1973: 83 ) 6.3) Contemporary Indian Architecture: architects have responded to this legacy. Indian Architecture, in similar fashion to that of South African Architecture, Three contemporary architects, Charles Correa, Raj Rewal and Bala is in the process of attempting to evolve a contemporary architecture that Krishna Doshi were selected for analysis due to the major contributions pays tribute to its colourful past and tradition, which during the height of the they have made to this debate. Through their work they have tapped into modern movement in following the world wide trend, was abandoned. At the rich architectural potential offered by traditional buildings and have the same time contemporary architecture must fulfill the current demands assimilated them with the benefits offered by improved modernised of society and reflect its aspirations. Establishing a greater continuity construction technology. between present and past thus promising an authentic synthesis of these ideals; an architectural future may be found by reference to the past. This search for identity may be interpreted as a continuation of the search for a modern architecture which began in Europe to counter the emergence of the modern movement. For example, the Arts and Crafts movement in England sought to adopt and adapt classical traditions by merely copying the motifs of history. Indian Architects are following a similar process but are rather attempting to discover and further develop what is deemed to be essential qualities of Indian traditional buildings. India possesses a vast array of traditional building forms that are derived through the reflection of vastly contrasting regional differences of culture, religion, climate and geography. One also needs to consider the impact that external influence such as Islamic Architecture, 18th and 20th century colonial architecture and western modernism have had on Indian architecture. Their contributions must be considered in the development of a regionally responsive architecture. These influences have already been discussed. This section aims to develop an understanding of how current denI tity and Culture c tin Ar hi ecture 84 C p er: 6ha t ec ion: 6. S t 3 6.4) Charles Correa ?open to sky space,? (Correa, 1996:8) which is a strong concept in a majority of his work. In recent times, there has been a steady He has often stated that architecture should be seen as a mechanism for development of a contemporary Indian Architecture, dealing with the elements. A study into the effect of climate led him to that may be comparable to work being produced conclude that cold climates had produced architecture that resembled a anywhere in the world. The architecture is only now closed box. A warm climate should allow people to have a different beginning to receive acknowledgement outside the relationship to the environment; a theme that see permeates through his subcontinent. However, at least one architect, work. Charles Correa has been internationally acclaimed for a number of years, even decades. Charles Correa's work in architecture has been driven by the purpose of developing a contemporary Indian architecture. He is primarily known for his work aimed at uplifting the conditions of India's poor, through the design of low rise, high density housing. The selected case studies however, place emphasis on his work in the production of public offices and museums. They are of more relevance due to the fact that they depict the influences of the rich Indian architectural heritage in Correa's work but also his unique design response to the climate and context the buildings are built in. Despite his training (studying and work experience) in the west, Correa has relished the challenge of working in a third world country. He, like Le Corbusier, has maintained that he appreciates the positive aspects of working in the Indian landscape due to its abundant sunlight and labour force, both of which favoured the use of reinforced concrete. The Indian climate, apart from the monsoon season is almost always blessed with a warm climate. This factor creates the perfect scenario for, as he puts it, denI tity and Culture c tin Ar hi ecture 85 C p er: 6ha t ec ion: 6. S t 4 Charles Correa (www.google.com) Handloom Pavilion, International Exhibition, Delhi 1958 ideal setting and ambient nature for the exhibition. The uniqueness of this space and This building marked the first work completed by the approach that Correa has taken, is of even Correa. Correa identified the Chatri (overhead canopy more significance when you consider that it or umbrella), as a prominent element in traditional wouldn't be as effective in anything but the Indian architecture and as an element that depicted the warm climate it has been applies in. (Khan, minimal protection that was needed in the context of the 1984: 17) warm climate. It proved to be the inspiration to the design of the roof structure of the Handloom Pavilion, Correa creates a variety of levels through a the most prominent design feature. The roof is made up stepped platform that is contained within the of a series of wooden structures that takes the form of an walls. This is a common element in Correa's inverted umbrella that is covered in handloom cloth. The work, where it is used to create a processional use of handloom cloth is also reflective of the pavilion and its contents, but route through a series of platforms in of the strong craft tradition present in traditional Indian architecture. ascending, then descending spiral. This movement was inspired by via a similar The relationship of the roof procession as experienced in the monumental Hindu temples of South structure is interesting in that it is in India, where a similar split in levels provides a route through various minimal contact with the columns Gopuras (gateways) and shrines, allowing one to experience the sacred supporting the roof structure. The the process as a pilgrimage as opposed to a mere pedestrian path. light weight nature of the structure allowed it to emphasise the The plan is based on 16 squares each measuring 7mx7m which are placed contrast it has with the heavy brick around a garden, creating a maze like route through which the viewer and substructure in that it is totally moves through. Delhi's mild winter allows the internal spaces to be open, independent from it. This forms a gap between the brick and mud walls and with minimal separation between the interior and exterior in the form of low the roof which gives the roof a lightweight appearance but also dispersed partition walls or changes in floor level. This along with a large volume light equally throughout the entire pavilion. The translucent nature of the allows for a flexible division of the exhibition space and creates spaces with handloom cloth, further illuminates the environment below creating the varying heights. denI tity and Culture c tin Ar hi ecture 86 C p er: 6ha t ec ion: 6. S t 4 Traditional Chatri (Cooper, 1998:97) Interior view (Correa, 1996:26) Plan Showing Path Through Pavillion (Cooper, 1998:27) Elevation (Cooper, 1998:27) Section (Cooper, 1998:27) The Jawahar Kala Kendra, Jaipur, 1992 same model of the universe. One of the squares however was shifted off axis due to the presence The Jawahar Kala Kendra is an arts and crafts museum and cultural centre of a hill. This is replicated within the Jawahar Kala in the city of Jaipur. It was built in memory of the late Jawaharlal Nehru, the Kendra, where the displaced square is used to first Prime Minister of India. The building represents one of C orrea's most mark the main entrance. It also separates the symbolically complex designs. performing arts complex from the main structure. The art complex is one of a combination of The overall form of the buildings is based on a modern concrete frame facilities, all illustrating crafts that are prominent in structure with brick and stone walls with the external wall being clad in the Rajasthan state. These facilities in a similar Rajasthan sandstone to reflect Jaipur's existing architecture. The planning fashion to the Handloom Pavilion, revolve around is based on the ancient navagraha mandala (model of the universe). This a symbolic central square. In being placed in the concept was used in the planning of the city itself which consists of nine centre this is symbolic of Surya, the Sun. As squares each representing one of the planets and its attributes. Each specified in the shastras this is to avoid square contains a function that is attributed to the planet it represents. For representing the nothing which is everything. The example the planet Mercury, a symbol of knowledge, houses the library. floor layout has a diagram of the lotus in the centre The theatres are in the square representing Venus, symbolic of the Arts. representing life. The astrological symbol for each planet is displayed as a cut out adjacent to its entrance and serves as a marking point. The building takes into consideration, the dry desert climate and makes extensive use of the The town plan for Jaipur was drawn up in the 17th century, based on the outdoor ramps, open to sky passages and internalised streets allowing craftsmen to work outdoors. This feature along with the notion of movement from interior to open space, gives the building an impression of being a miniature city complex with interconnecting streets and a central plaza. A three storey tower allows one to view the overall structure. denI tity and Culture c tin Ar hi ecture 87 C p er: 6ha t ec ion: 6. S t 4 1 - Mandala 2- Square Repositioned HILL 3 - Jaipur City Plan 3 - Kala Kendra Sketch (Correa, 1998: 218) (Correa, 1998) (Correa, 1998) (Correa, 1998) (Correa, 1998) The layout of the complex, as is The case studies discussed were selected because they illustrate Correa's typical of Correa's work, has dual reflection on Indian tradition and culture through interpretation of ancient meanings and intentions. The architecture as well as mythology. The results are buildings that are rich in metaphor of the universe has metaphor, symbolism and meaning. Through this contemporary been discussed. The second reinterpretation he also ensures that these buildings are still very much a meaning, one that is more part of their time. practical in its implementation is the use of the modular structure Correa believes that architecture should be a combination of old and new to create a sense of movement in that it finds itself at the centre of three influential forces. The first being through a series of intertwined technology and economics; the second culture and history and the third but independent elements. This being the hopes and the needs of the people it serves and represents. He also creates spaces with varying places greatest emphasis on the third. He designs for the needs of a levels of movement, shifting light society with a great cultural heritage and through his building ensures that and shade. The modular structure this history is ever present, represented and not forgotten. At the same also allowed the building to be time in meeting the needs of the community, his buildings find meaning in built over several phases as funds the present and play a role in shaping India's future. As Charles Correa became available. himself puts it, ?Only a decadent architect looks obsessively backward. At its most vital architecture is an agent of change.? (Khan, 1984: 175). denI tity and Culture c tin Ar hi ecture 88 C p er: 6ha t ec ion: 6. S t 4 Floor Plan (Khan, 1984:143) (Correa, 1998) 6.5) Raj Rewal Rewal through his work, projects his belief, given the above Raj Rewal has through his work spanning a period of circumstances, that not only is a common architectural language unlikely several years, produced an ingenious and distinctive but more importantly it is not desirable. His work displays an array of fusion of Western and Eastern traditions, displaying pragmatic yet inventive solutions; as such it is of more benefit to identify innovative uses of craft and local materials in a search key aspects of specific designs as opposed to a detailed analysis of all the for an appropriate contemporary architectural selected case studies. In doing so, we may appreciate how he has created language. a fusion of new and old in a variety of ways to respond to contrasting circumstances. Having studied and worked in Europe, Rewal applies modernistic European methodologies within an Indian context whilst providing unique adaptations of Indian Imperial Mughal Architecture. He makes use of essential elements of traditional Indian Architecture such as courtyards, streets and gateways. Rewal is of the opinion that the traditional architecture of North Indian cities have much to offer in the response to functional requirements such as climate and user needs. This is especially so when one takes into consideration that traditional architecture is a result of a process spanning hundreds of years, through a process of trial and error. He maintains the essence felt in traditional building through his contemporary buildings with the subtle use of light, texture and space. India represents one of the world's most ancient civilisations, and possesses a heritage that is as rich as it is vast. India also carries the burden of being a poor third world nation, as it has done for several hundred years. However India today is also regarded as a modern developing country, thereby presenting an array of influences. denI tity and Culture c tin Ar hi ecture 89 C p er: 6ha t ec ion: 6. S t 5 Raj Rewal (www.google.com) Tradition, The pattern and Urban Design in the Asian Games Village, air through the city fabric. Despite this level of connection and continuity of New Delhi, 1980 movement, the courtyards remain enclosed maintaining their unique identities, and sense of place. This scheme was built in order to house guests attending the Asian Olympic Games which India hosted in 1982. After the event the units were In aspiring to this, Rewal in the urban structure of the Asian Games village sold individually to a growing middle class population. without a direct application has achieved a similar low-rise, high density development. The arterial mode of movement presents itself in the form of The building provides a variety of residential unit types in interesting ways. narrow, shaded pedestrian routes acting as links between several semi- However our focus lies on his use of urban layout is inspired by the private enclosures. planning of the city, Jaisalmer in the northern state of Rajasthan. The city The layout aims to create a blend of continuity and diversity in its space is composed of a close interplay of solids and voids; a settlement pattern making, revolving around a common movement arterial. t h a t h a s developed over The plan creates spaces time. The voids t h a t p r o v i d e t h e p r e s e n t encounters between themselves in people and also creates t h e f o r m o f s h a d e a n d c r o s s c o u r t y a r d s ventilation. At the same which act as t i m e h e p r o v i d e s lungs in the solutions to the problems densely packed of vehicular routes and u r b a n provision of parking. In configuration. doing so he does not lose the sense of human The built form connects these courtyards on multiple levels. The scale, and thus like the city of Jaisalmer, the user is allowed to participate courtyards are linked via a network of narrow streets, which are ideal in the and contribute to the vibrancy of the street and outdoor space as opposed hot dry climate as they provide shaded areas and promote the funnelling of to merely being an observer. denI tity and Culture c tin Ar hi ecture 90 C p er: 6ha t ec ion: 6. S t 5 The City of Jaisalmer in Rajasthan is an archetypal example of urb an morp hology in Nort h India. Cool Shadow result from the built fabric of the city. Similar effe cts of l ighti ng and cooling bre ezes were achieved in the courtyards of the Asian Games Village. Asian Games Village (Taylor, 1992: 30) City of Jaisalmer (Taylor, 1992: 26) Gateways in Jaisalmer and the Asian Games Village define housing zones. City of Jaisalmer (Taylor, 1992: 26) Asian Games Village (Taylor, 1992: 30) The Central Institute of Education and Technology and the use of around the courtyard. Similarly in the CIET the courtyards are used for Courtyards varying functions. One marks the entrance to the building while the second larger one is used as a space to induce interaction amongst the The courtyard space is a concept that is highly prominent in Indian users of the building. The larger courtyard also has an outdoor architecture. It has been adapted for use in a number of different building amphitheatre with seating. It is wrapped around an existing tree which typologies for various functions, ranging from private to public use. creates a similar atmosphere to that of a Madresa (Traditional Indian School). This element also contributes to the cool ambience of the Rewal uses this courtyard and creates a space that is shaded, providing needed relief and courtyard concept protection from the ever present heat. It also acts as a space that is in the design of the conducive to group discussions and the hosting of cultural activities; as Central Institute of such it is the central point of interaction within the building. The connection E d u c a t i o n a n d of the building is further strengthened by verandas and roof terraces Technology in New overlooking this space. Delh i (C. I .E.T) . Built in 1975, the The provision of these secondary outdoor spaces (roof terraces, verandas building is wrapped etc) is a prominent addition and plays an essential part in the lifestyle of around two interconnecting courtyards. The use of courtyards in this people in north Indian cities. This is an integral feature in the C.I.E.T ut also building is an adaptation of the public courtyards found in the palaces at in the Asian games village, and a variety of other contemporary works by Datia and Orchha. These courtyards accommodated a multitude of Rewal. It is an example of activities including religious activities and celebration through festivals. the deeper understanding The palaces themselves were directly linked to these courtyards via rooms that Rewal has of the opening out into them as well as terraces on upper levels. They also I n d i a n c l i m a t e a n d created spaces that were shielded from the climate, thus creating dust l i fes ty le . O f more free, cool spaces unaffected by heat and sand storms. Courtyards were importance is that it clearly also used as elements for climatic control. They allow light to enter and act informs his decision as air wells which retain cool air at night. During the afternoon this space making process and is heats up, thereby creating convection currents which ventilate the rooms portrayed in his work. denI tity and Culture c tin Ar hi ecture 91 C p er: 6ha t ec ion: 6. S t 5 Axonometric drawing of the central courtyard of the the Palace of Datia & CIET in New Delhi Palace of Datia (Taylor, 1992: 29) C I E T (Taylor, 1992: 29) Palace of Datia (Taylor, 1992: 30) C I E T (Taylor, 1992: 135) Projecting Balconies around the central court provide in both buildings provides one with changing perspectives of the building and the activities within it. The Celebrat ion of The space frame solution was Craftsmanship and the derived from the need for large Hall of Nations, New spans of unobstructed space. The Delhi, 1970 process through which it was derived from makes a statement W e s t e r n m o d e r n about the building. Steel, the architecture and traditional traditional material associated with vernacular architecture space frames was at the time of more often than not are construction costly in India and defined as polar opposites. The Hall of Nations is, due to its' strong available in l imited spans. references to Indian craftsmanship, a contemporary construction Concrete was readily available, methodology is a strong statement as to how architecture may be inspired along with a labour force by both aspects. experienced in its use; the building with the air of computer design was Traditional Indian Architecture places a strong emphasis on the use of conceived as a reinforced materials in an unprocessed form. Materials included stone, bronze and structural system. wood. These materials were used for functional, decorative and symbolic purposes, and in the combination of these 3 functions produced an This building depicts Raj Rewal's architecture rich in detail. It also gives one insight into the level of abilities to make use of available interaction, and input of ideas that occurred between architects, craftsman resources to fulfil the requirements and the artist, thus fulfilling the potential of the resources available. of the client. He has produced a building that has strong reference Raj Rewal's proposal for the Hall of Nation won the design competition to traditional architecture but based on the fact that it met the constraints of time and adhered to the reinterpreted via the use of modern availability of materials and labour. Most importantly it reflected through its technology. innovative form and construction methodology India being a part of a select modern industrialised group of countries. denI tity and Culture c tin Ar hi ecture 92 C p er: 6ha t ec ion: 6. S t 5 1.An example of an ancient jail work (Talylor, 1992: 32) (Talylor, 1992: 32) (Talylor, 1992: 32) (Talylor, 1992: 31) 1.Details of the exterior of the Hall of Nations. Solids and Voids are created & provide thermal protect ion for the inter ior. 2.The structure of the Hall of Industries from the interior. It too acts as a jali to filter the natural light. Raj Rewal has consistently looked at traditional Indian architecture in the search for solutions to contemporary architectural issues. At no time however, does one feel that he is simply reproducing it. His profound faith in the Indian Architectural traditions has inspired him to reinterpret the rationality of these structures. Its application via modern technology and the availability of new materials has produced innovative practical solutions. Through his work, due to his strong referral to both traditional and western architecture, brings into focus the similarities between tradition and western. After all, Le Corbusier and other modern pioneers also recognised the elegance of raw materials, through their use of textures; the grain of wood, the roughness of concrete and the transparency off glass etc. Rewal identifies the functionality and response to context that has driven both types of architecture. His work portrays a deep understanding of the diverse elements in Indian Architecture. denI tity and Culture c tin Ar hi ecture 93 C p er: 6ha t ec ion: 6. S t 5 6.6) Balkrishna V Doshi Balkrishna V Doshi belongs to the same generation of architects as Charles Correa and Raj Rewal. As such, this architecture deals with issues generated through a similar context, of a country with a rich heritage culture, but in the context of rapid industrialisation is searching for a sense of meaning in its interpretation of the built form. What is of importance though is that even though they are dealing with the same issues, all three produce contrasting responses of architecture. This illustrates the diversity that exists in India, and as such each architect is responding to varying climates, available materials and different cultural expressions. Both Raj Rewal and Charles Correa have acknowledged the influence modernism has had on them, especially the ideals of Le Corbusier and Kahn. Doshi though, it may be argued, has been most influenced by the teachings of these two masters. He was an apprentice to Le Corbusier and a friend to Kahn. This fact is a strong factor in his architectural interpretations. denI tity and Culture c tin Ar hi ecture 94 C p er: 6ha t ec ion: 6. S t 6 Balkrishna V Doshi (www.google.com) Gandhi Labour Institute, Ahmadabad, symbolic meaning, and represents the relationship between the body and 1980-84 soul. The shell or building represents the body and the court, its soul. This building pays tribute to one of the This analogy is further strengthened by the route through the building to greatest figures in Indian History (and get into the courtyard. One begins the journey by ascending gradually to a indeed South African history). This building raised platform, down a softly lit hall which eventually breaks into the light is inspired by Gandhi's great strength and filled courtyard. This journey is designed to replicate a similar process that humility, and this concept is reflected in the one encounters in religious buildings. This gives the Institute a feeling of planning of the building but also in its simple sacredness and the aura of a sanctuary and gives a visitor a profound range of materials. sense of belonging, a concept that is a cornerstone of Gandhi's teachings. Doshi finds inspiration in the traditional This analogy is strongly present in the design of the entrance to the architecture of the Western state of Gujarat. building. It is almost anti monumental in that it is marked as by the lowest He noted that due to the hot, dry climate, point in the buildings height. The diagonal axis of the building from the buildings have evolved to incorporate a entrance is designed to allow the visitor to gain a full view of the building in dual system of structuring. The primary perspective to allow it to feel accessible to all.The innovative nature of the structure supports the activity within the form of the building and materials used reveals Doshi's modern influences. areas of activity or within the actual building The barrel vault concrete roof structure is admittedly reminiscent of Kahn's while the secondary structure serves as a Kimbell museum. The waterproofed surface is then covered with broken protective layer to the centre of the building pieces of china. The combination not only produces a unique finish but or the courtyard. This notion of the building affords protection from the heat due to its heat reflecting properties. The as two concepts is based in a strong barrel vault structure is practical as it allows the roof to maintain a low profile. The vault form though is a symbolic form in both European and Indian history. It is a symbol of Doshi's attempt to build spaces suitable to the local climate and to develop structure and form which evokes a local ethos.' (Steele, 1998:94) denI tity and Culture c tin Ar hi ecture 95 C p er: 6ha t ec ion: 6. S t 6 Image 1 (Steele, 1998: 99 ) Image 2 (Steele, 1998: 102 ) Image 3 (Steele, 1998: 103 ) Image 4 (Steele, 1998: 107 ) 1.The approach to the institute leads up a shallow series of steps past a misting fountain. 2.The entrance is approached by a series of steps and terraces. The vaults, like those at Sangath are covered by glazed ceramic pieces, although here the building stands higher. 3.Water is an important feature, descending from a misting fountain that cooling the air nearby. 4.Internal Courts, recessed window opening , deep eaves and balconies all bring shade to the surfaces of the building. National Institute of Fashion Technology, New Delhi, 1997 Doshi reinterprets t h i s i n a n The fashion industry of i n t r o v e r t e d Indian is a symbol of internalised form I n d i a ' s e x p e n d i n g that is activated economy. It pays tribute t h r o u g h t h e to traditional Indian outfits c o n t i n u o u s and its long and illustrious m o v e m e n t o f textile heritage; at the s t u d e n t s a n d same time it takes note visitors. of global fashion trends. A similar concept has been used in the design approach Doshi has The buildings are wrapped adopted in this building. around a series of internalised courtyards and terraces which The continuous innovation required of the fashion industry, was use platforms at varying heights reinterpreted within the space continuum of the building in a dramatic way. to create a series of galleries The circulation routes were based on the concept of the Indian Bazaar, a and spaces for formal and space which is a prominent feature in traditional Indian architecture, which casual outdoor activities. Doshi ?implies continuous movement in space and time.? (Steele 1998,163). uses a series of independent The Bazaar typology though, is a highly extrovert outdoor experience. blocks each 3-4 storey's high, which enclose two courtyards at the heart of the plan. The blocks are linked by a bridge overlooking the courtyards. The first courtyard is inspired by a kund, which is used as a rainwater store in traditional Indian architecture. The second serves as an informal denI tity and Culture c tin Ar hi ecture 96 C p er: 6ha t ec ion: 6. S t 6 Kund (Steele, 1998: 164) Gorund Floor Plan (Steele, 1998: 158) Regular office buildings are wedded to the irregular shape of the site by enhancing uneven natural features in the inner court, which descends in a series of steps (at the centre of the plan)to the amphitheatre is to the left. (Steele, 1998: 168) Section through ?Kund? inspired Courtyard (Steele, 1998: 158) Central water channel leading from outside into the heart of the complex. The bridges spans the area above the water channel, linking the two main buildings. Bridges are elements that were used in traditional public buildings. They were very much in keeping with the Notion of order as discussed within Traditional Architecture Section. (Steele, 1998: 165) (Steele, 1998: 169) amphitheatre. The above two case studies depicts the full and diverse range (or extents thereof) of Doshi's architectural application. He draws inspiration from a The courtyard in this application replicates the same spatial qualities one variety of sources encompassing, but not limited to, Hindu geometry, feels in the traditional chowk (courtyard). It aims to give the centre a less contemporary town planning, traditional urban typologies as well as institutional feel assists in fostering a sense of community. mythical and cultural references. Of the three Architects selected, Doshi architecture makes the most powerful statement in terms of harnessing the strengths of both tradition and modernism. His work pays tribute to national traditions as well as to modernistic concepts that formed the basis of his architectural training. Balkrishna Doshi's work may be interpreted as a refinement of central principles of modern architecture but with a strong relation to the history, climate and diverse cultures of the people it serves. denI tity and Culture c tin Ar hi ecture 97 C p er: 6ha t ec ion: 6. S t 6 denI tity and Culture c tin Ar hi ecture 98 C p er: 6ha t ec ion: 6. S t 7 6.7) The Indian Embassy in Berlin, 2000. the space a visitor is afforded a view into the depth of the building. This concept of The Indian embassy in Berlin was designed by the German Architect Leon transparency and accessibility is further Wohlhage Wernik. The proposed building site is located within a context of emphasised by the fast that all public buildings that are free standing. A concept that is typical of embassy areas of the building are directly buildings to portray ideals of power, pride and independence. The Indian accessible from this courtyard. embassy building follows the same principle. The simplistic appearance of the building This line of thinking however is, not carried through to the actual design of as a rectangular form conceals the the building. The entrance to the building is marked by a cylindrical void elaborate details of planning used in which acts as ordering the spaces around a landscaped the entrance courtyard in the centre. The relationship c o u r t y a r d . , between the courtyard and the building Upon entering itself is intertwined through the placing of a cylindrical tower within the courtyard, and is a continued interpretation of the play on mass and void used in the creation of the entrance courtyard. The overall form of the building consists of a concrete frame with rough hewn non- load bearing sandstone imported from Rajasthan which through its red hue evokes a similar rendition of that of the Indian Red Fort. The building is composed of three independent areas linked by the two courtyards. The residences are placed in a separate building towards the rear of the site, adjacent to the gardens of the neighbouring site. The Chancery building is split as there is a need for direct contact with the public, which occurs on the first two levels. The upper three levels serve as offices which are linked to (Schulz, 2001: 47) (Schulz, 2001: 44) The Entrance Courtyard as viewed from the Outside 1 1 2 3 2 3 T h e P l a n o f t h e B e r l i n E m b a s s y d e r i v e s p r i n c i p l e s f r o m t r a d i t i o n a l I n d i a n A r c h i t e c t u r e . T h i s i s e v i d e n t i n t h e p l a n w h e r e a n a x i s i s c r e a t e d f r o m t h e en t rance cou r t ( 1 ) t o t he ga rden (3 ) t owards t he rea r o f t he s i t e . A second ax i s i s c rea ted and links the second private entrance to the entrance hall (2) which is placed at the intersection of the two axis, ?the sense of centre? as seen in traditional architecture. One also notices a grid (in similar fashion to a mandala) used to order the plan which gives the different spaces a sense of proportion in relation to each other. (Schulz, 2001: 44)(Khan, 1984: 142) the cylindrical from being released into an ornamental water pool. The cylindrical building o f t h e within this space takes on the aura of a pavilion within a majestic setting. It a m b a s s a d o r ' s also incorporates a ground staircase which leads one from the ground floor office. to a roof garden which allows view out towards the city of Berlin. The areas that are This Building was chosen as a case study due to the fact that it allows accessible via the one an understanding of how Indian architecture and its attributes public on the first may be reinterpreted to produce a building outside of India. At the two levels are same time the building makes use of distinctly Indian characteristics connected to a double volume hall which shares a single entry with the such as the use of Red Sandstone, screen devices and diplomatic entrance. The space is divided however and visually interconnected courtyards. It is also of interest how the building disconnected via the use of traditional perforated wooden screens. does not deny its Indian Heritage or aspirations but at the same time it makes a concerted effort to make all people irrespective of origin, feel The residences overlook the central courtyard by means of terraces on the welcome, by allowing the building to be transparent but also by the upper floors, thus maintaining a visual connection with the rest of the reinterpretation of Indian materials through western technologies. building. The entrance courtyard allows for a similar connection in that the offices overlook this space, through a glass curtain wall that is intermittently clad with timber panels. The gardens within the courtyard plays a prominent role in the building. The design incorporates a series of stepped terraces, along which water is used as a feature which follows the route of the terrace before denI tity and Culture c tin Ar hi ecture 99 C p er: 6ha t ec ion: 6. S t 7 (Schulz, 2001: 44) The use of screens in traditional architecture (left) and its reinterpretation in the Indian Embassy (right) (Talylor, 1992: 32) The Ancient Observatory in Jaipur (left) and its reinterpretation in the Indian Embassy (right) denI tity and Culture c tin Ar hi ecture 100 C p er: 6ha t ec ion: 6. S t 8 6.8) The Indian Garden new weapons but also new building techniques. They used The Indian garden is very much a part of the Indian tradition in that it stems mortar to make stone arches, from the worship of trees, a very ancient custom among Hindus. It is said elements that were previously that India has some of the most beautiful and well-planned parks and unknown in India. They also gardens to boast of and in New Delhi, one of the greenest capitals in the brought a new building typology world. with them, this being that of the tomb. The Taj Mahal is one such The analysis thus far has focused on the built form of India. We have seen example. It is interesting to note how traditional elements have been reinterpreted using contemporary that today it is very much a symbol methods in representing the identity. The study of Indian architecture was of India, despite the fact that it began as a foreign concept. therefore guided by the need to understand how this has been achieved. It was however an Indian adaptation of the tomb. In India, the practice of As mentioned in the introduction to this chapter it was not necessary to building ornate tombs in walled enclosures became highly developed. The establish how Indian architecture has been influenced by Islamic and Mughal innovation was to treat the enclosed outdoor space as a garden. In British periods of control. It is however within the Indian Garden that we doing so the Indian garden gained Islamic influences. The gardens as seen may see the incorporation of elements from the Islamic and Colonial period in the Taj Mahal, make extensive use of patterns, colour and calligraphic of India's History. Though very much a key aspect of Indian identity the design. Water is used extensively due to the fact that it is seen as a source Indian garden is regarded as very much a hybridized version of all 3 of life in Hinduism as well as Islam. The common square pattern of the cultures in that it combines aspects of both the Islamic Garden but also the Indian garden in the compound of a tomb is said to have developed from a English Garden. As such it is a celebration of all three cultures, through the fusion of the walled garden and the Indian concept of proportion through interpretation of present day India. use of the Mandala. The Influence of Islamic and Colonial Traditions: Islamic gardens of the Middle East were highly developed, making use of tools such as irrigation which are still highly used today. These concepts From the 12th century onwards India was progressively occupied by were imported directly into India. Islamic Arabs, Turks and Mughals. With them they brought a new religion, The Taj Mahal (www.google.com ) denI tity and Culture c tin Ar hi ecture 101 C p er: 6ha t ec ion: 6. S t 9 The Garden of Eden is a mythic place in western methodology from which e f f o r t l e s s l y . four rivers flowed out in the four cardinal directions. It was the main Through th is conceptual element derived from the English Garden and implemented process they within the Indian Garden. The fusion of these garden types developed into p r o d u c e d a the ?chahar bagh,? the quartered garden. The first known walled tomb pattern which garden in India is Sikander Lodi's tomb in Delhi, predating the Mughal tomb c o u l d b e gardens. recognized as belonging to any Therefore the Indian Garden is very much a fusion of many identities. It can o f t he th ree be seen through the concept of the garden that there are distinct parallels traditions. The and similarities between the native Indian concepts, British concepts and Garden of Eden the Islamic concepts. theme was united with the mandala based themes of the Indian landscape. Examples of the resulting gardens include that of the principal Mughal The six main similarities as identified are: tombs. The result was interpreted as a variant of the Garden of Eden theme because the dominant culture when these gardens were created was a ?A square or rectangular enclosure, often a walled compound. western culture. (www.gardenvisit.com) ?The presence of a dominant focal feature, a temple tower, tomb, pond or palace. The Indian Gardens today are still very much part of the contemporary ?A quartering or other division of the landscape, often along the cardinal lifestyle. Nehru Park in New Delhi for example acts as a social gathering directions. spot for all of New Delhi's People. According to the official city website, ?The use of water as both an ornamental and as an essential ablutionary (www.visitdelhi.com)... feature. ?Lay-out is symmetrical, geometric, and harmonious. ?The major attractions of the Park are the 'Morning Ragas'- the musical ?Gardens are used to evoke feelings of peace, harmony and happiness. concerts and the art events that are organized every Sunday morning. World famous musicians and vocalists of India perform in these concerts These aspects confirm that that the original Islamic, Hindu and English that are usually held for two hours amidst the landscaped lush gardens of garden concepts possessed sufficient similarities to be synthesised the Nehru Park. The experience of listening to the melodious music, in the Lodi?s Tomb with the quartered Garden (www.google.com ) denI tity and Culture c tin Ar hi ecture 102 C p er: 6ha t Section: 6.9/10 cool morning hours of the much-awaited weekend, is ecstasy for a music 6.10) Conclusion: lover. Indian architecture, ranging from the vernacular to those built in the last The other attraction of the park is the recently organized free yoga classes decade as symbols of Indian progress all have a respect for the climate it by the Delhi Tourism and the education department, as part of the Delhi sits in, making use of the most abundant of resources. The use of outdoor Government's initiative to keep the residents of Delhi fit and happy.? spaces, emphasis on experiencing the sun, and subtle uses of light, the change of levels to create varying experiences, progression from open to This is of significance within the context of this thesis due to the fact that it is closed spaces, variation of texture and the play on solid and void are all the intention of the author, to incorporate a space that will carry out similar elements derived from a profound understanding of Indian architectural functions to that of the contemporary Indian Garden as described in history. reference to Nehru Park. This analysis of Indian Architecture provides clues as to how contemporary The garden is seen as a space for informal meeting between different design and construction may be used as a platform for the celebration and cultures, and like the museum, and the trade centre of my thesis, the continuation of South African Indian culture. garden may also serve as a space for interaction and learning between the various cultures that will pass through it. In doing so it acts as a stage where similarities may be identified and celebrated. The space may be used in a formal manner as well, through the hosting of shows and events such as yoga classes and dance classes and other forms of activity. Though the use of the space will not be confined to only Indian activities, it is seen as a stage where people may better understand its rich heritage and tradition and at the same time express similarities that they may find within their own cultures and identities. Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural 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Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relation Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural U H FRI AS A NDI O CA I N RCH T REC UA I E 1 30 C H A P T E R 7 7.1) Introduction been in South Africa. This legacy should also be reflected in any attempt to portray contemporary South African Indian identity. This reference to The analysis of Indian architecture has helped us in determining how South African roots is critical in that it will allow a deeper understanding of a architecture may be used to reflect a culture. Sections XXX also document heritage that up to now has not been fulfilled and in line with a sector of the how some of the most prominent Indian architects have looked to their community who are yet to find a role in today's contemporary society. At heritage for inspiration in their search for a relevant architecture, which the same it will identify certain aspects that all South Africans can relate to. responds to divergent aspirations, on a local and global level. Through the analysis of memorial architecture, we have established that At this point it may be argued that South African Indian culture may be architecture is reflective of the period that it has been built in. This is the represented in a similar light through a replication of the process case in the initial museums of 13th century Europe and a similar narrative developed by Indian architects. One of the major influences of South has been identified in the work of contemporary architects dealing with the African Indians is their rootedness in religion. Like Indians, it is inextricably concepts of identity and memory in architecture e.g. Libeskind's Jewish linked with the everyday, thus representing a link that should be preserved. museum which narrates a socio political history of Jews in Berlin. At the The appropriate language that South African Indians would be able to same time he includes the story of non-Jewish Germans which serve to identify with will no doubt have to be considered. However if there is one enrich, through its diversity the understanding of all Germans about their aspect that we should abstract from Indian architecture, it is that joint history. architecture should always be appropriate to its context, responding to the ethos of a time and place, in a pursuit of a unique and meaningful This section therefore attempts to identify spaces that are tied to the history architecture. of the Indian population in South Africa. Space in this instance refers to buildings but as we shall see also includes areas in Durban that are of Indentured Indian labourers were brought to the colony of South Africa by significance and also act as landmarks. the British in the 1860's to work as labourers on sugarcane plantation in Natal. Approximately 150 000 Indians arrived for this purpose during the As such this section looks at South African Temples and Mosques; The period of 1860-1911. Today, The City of Durban is home to the second Grey Street Precinct; The Point Precinct. largest Indian community outside of India (the largest being in Malaysia) and the largest Indian population in sub Saharan Africa. (Diesel, 1997:1) The year 2010 will mark one hundred and fifty years since Indians have denI tity and Culture c tin Ar hi ecture 104 C p er: 7ha t ec ion: 7. S t 1 denI tity and Culture c tin Ar hi ecture 105 C p er: 7ha t ec ion: 7. S t 2 7.2) South African Temples and Mosques Places of worship were thus found wherever Hindu communities chose to settle. One of the very first community settlements however, was made up Indian culture may be seen as the expression of religious beliefs. As such of the thousands of Indian workers who were housed in the railway a logical departure point in this study may be found in an analysis of the barracks and the magazine barracks. This community was responsible for development of temples and mosques in South Africa since the arrival of building three temples. It is a sad reflection of our lack of architectural Indians. preservation that only one of the three still stands. It is also worth noting that the barracks themselves which were also of heritage value were torn Upon arrival the Indians of South Africa were made to work under down to make way for a railway terminal. (Radford, 2002:23) miserable conditions. Despite such adversity they continued to adhere to their religion and other traditions. This then led to them building small The remaining temple is the Somsteau Road Hindu Temple, and is one of shrines and temples, which initially were similar in application to Indian the oldest temples in Durban. temples. However, as we shall see they gradually began to adapt to their new environment. After completing their five year terms as indentured labourers, most of the Indians chose to settle in Durban, finding employment as hawkers, domestic workings or took up market gardening. Many also took up employment opportunities within the Durban municipality, in the agricultural field and the coal mines. A significant number worked for Natal Government Railways, and were involved in the building of the Railway line from Durban to Johannesburg. It is worth noting at this point, that it is of no coincidence that one may find Indian communities in several towns such as Dundee and Newcastle along the Durban-Johannesburg route. Through this process Indians moved into the interior of Natal into areas such as Pietermaritzburg and eventually into major cities throughout South Africa (Diesel and Maxwell, 1993:5-6). denI tity and Culture c tin Ar hi ecture 106 C p er: 7ha t ec ion: 7. S t 2 The Somsteau Road Hindu Temple is architecture that was unique to South fascinating in that it depicts how traditional Africa. These early temples were building methodologies were modified via important in that they played a critical role design and construction technique in helping Indian settlers in creating a new adapted to the South African environment. identity in a foreign inhospitable The building makes use of features such landscape. (Freund: 1995, 8). as sitting, spatial development, sculpture, the use of colour, the plinth and other The Somsteau traditional temple building features, in R o a d H i n d u similar fashion to those in India. temple differs remarkably from the temples that are being built today. The Sonsteau Road Temple, as As one can see in the traditional temples in general, which unlike other plan, that the mandala places of worship, is actually meant to be a sculpture w a s u s e d a s a to be enjoyed from the outside. A users go's into the generator and as such structure to make offerings and then departs. It is not the plan is based on a about the internal space, as opposed to mosques, churches etc. which are the proportions of a places of gathering. Durban?s recently built temples as we shall see take a square. The Temple different approach. also as in traditional makes use of an access. It primary circulation is also based on Indian temples in that it is a journey around the centre which is a metaphor for a sacred journey. What was unique to this design however was the use of a cast iron veranda around the temple, which was an adaptation of the colonial veranda house, using materials such as corrugated iron. Thus created a hybrid The Temple in 1943 with the Verandah (Mikula, 1982: 59) Section of the Temple in 1943 with the Verandah (Mikula, 1982: 98) Plan of the Temple with the Verandah (Mikula, 1982: 98) The Temple in 2007 with no Verandah (authors own) Recessed niches with elegant sculptures in the tower. (authors own) denI tity and Culture c tin Ar hi ecture 107 C p er: 7ha t ec ion: 7. S t 2 Modern South African temples differ significantly in terms of form and the traditional form of early temples, at the same time function in that they have taken on the concept of communal services and it may still be clearly identified as a Hindu building. It as such the architecture has responded to that. retains certain characteristics, such as the use of the Sikhara (tower/superstructure) which is an element This shift in focus may be that is an ever present in temples. Hinduism is of the illustrated through the Kendra belief that the symbolic home of God is the Hindu Community Centre which mountains; the temple tower is a symbolic reference was built in the 1990?s. The brief for to this. The building also, however, acknowledges the new temple was that it was not an awareness of its context, through its planning only to be a symbol for Hinduism in c o n s t r u c t i o n Durban but also a meaningful t e c h n i q u e s a n d tourist attraction for all members of materials e.g. The use of reinforced concrete the public. This concept is in the form of a lotus (symbol of life) is used as emphasised through the a plinth to elevate the dome. d u a l i t y o f t h e p r o g r a m m e , w h i c h Symbolism is used to reinterpret traditional includes the temple distinguishing characteristics in contemporary within a complex housing ways. The facetted envelop of the building a n a u d i t o r i u m , which presents the temple as a precious communi ty funct ion jewel, or as an object of beauty that may be facilities, as well as enjoyed from the outside. This is in stark contrast to the Somsteau Road conference centers and Temple.The facades are extensively covered with a reflective glass which b o a r d r o o m s w h i c h a r e offers the user a mirror for the soul in their search for self knowledge. accessible to the general public. The plan though also of a different scale to the Somsteau Road temple still makes use of an axis, that is also orientated east to west that places The building itself is also not in emphasis on the centre. The Kendra Hindu Community Centre in 2007 (authors own) M a s o n a r y D e t a i l w i t h T r a d i t i o n a l D e t a i l i n g Reinterpredted in Concrete & R e f l e c c t i v e W i n d o w s (authors own) Symbolic Mount Meru With Traditional Temple Plan and Section (Mikula, 1982: 6) The Kendra Hindu Community CentreSection, similar to section on opp. page of traditional temple (Naicker, 1997: 5) The Kendra Hindu Community Floor Plan, one may draw comparisons with plan of traditional temple on opp. page (Radford, 2002: 24) denI tity and Culture c tin Ar hi ecture 108 C p er: 7ha t ec ion: 7. S t 2 The Grey Street Mosque a sheeted roof covering, which is hidden behind an articulated series of parapet walls. The mosque also makes use of a verandah on arches A similar adaptation of design methodology may be seen in the Grey Street overlooking the street, which is contextually relevant but highly unique for a Mosque which was built in 1927. It is the largest mosque in the southern mosque, which traditionally is concerned with inner focus. As such the hemisphere. It possesses a unique blend of Islamic design motifs within a mosque is also highly unique in its adaptation to the Durban context. distinct union period vernacular style. It is also an example of how the mosques of Natal (and Transvaal) exhibit a great coherence of conceptual form and the general imagery of mosques in India. Due to this fact they have retained strong ties to mosques on the sub continent. As such, the mosque contains physical attributes which establish historical connections but also distinguishes the mosque as type. The building makes use of the onion dome which as an element is synonymous with mosque typologies around the world. The other distinctly recognizable element is the minaret (tower) that landmarks the mosque within the area. Other elements derived from the traditional mosque includes the octagonal shape of the tower, the pointed antefixae on the parapet walls, the recessed cusped mouldings within the intrados framing the pointed or horse shoe arches. (Le Roux pg 104) These elements allow the buildings to process a unique blend of Islamic design motifs, through which it preserves ties with the wider world of Islam. The mosque, together with the adjacent Madressa Arcade is the main components of a building complex that offers a variety of community functions. This is also in keeping with traditional mosques. (Radford, 2002: 12) As dominant as these features are, it is equally noticeable that the building is also of a distinct union period vernacular style. The building makes use of The Grey Street Mosque (Authors Own) denI tity and Culture c tin Ar hi ecture 109 C p er: 7ha t ec ion: 7. S t 2 The Reservoir Hills mosque built in 1971 though adhering to traditional principles such as its proper orientation (towards Mecca) is very different from the grey street mosque. The mosque is non-traditional and is distinctly modernist in style. This modernistic expression is continued in the use of materials such as an off- shutter concrete with face brick infill. The mosque is not without its religious symbolism however. The parapet walls are inscribed with text from the Koran. The plan itself is based on the intersecting of two squares which is a symbol with religious connotations in Islam. (Radford, 2002:12). Entrance to Mosque (Authors Own) Calligraphy in (Authors Own) parapet walls Plan of Mosque (Radford, 2002: 4) The Mosque offers other services to the community i nc lud ing a c reche . (Authors Own) 11 0 C p er: 7ha t ec ion: 7. S t 3 7.3) The Grey Street Precinct The Grey Street Precinct is undoubtedly tied to the legacy of the Indian population In order to restrict and forbid the inter-racial changes in terms of ownership in South Africa. At its peak, the Grey Street and occupation of property, the apartheid government passed the group area was one of extraordinary vitality areas act in 1950. This act also gave them the offering a variety of attractions. The sheer authority to move and decide where concentration of people, from all members of different backgrounds of all races contributed to a racial groups should way of life that was unique in South Africa live. Racial segregation (Bulley, 1970:22). in general, was a direct result of this act, along The Grey street area is categorised by a with the population mixture of commercial, residential and registration act of 1950 religious activities. The area has a which was used to relatively low vertical profile, with most classify all South African building not exceeding three floors. This b y r a c i a l g r o u p . allowed the formation of a coherent (Vestbro, 1995:10). streetscape. By adhering to a common typology the building were read as a Initially Indian traders coherent whole. set up shops in what was the European The streetscapes feature is a prominent Business Area. T he group areas act was then enforced, giving Indians the Indian quality in that they are dotted with right to own land and buildings in a limited area, which became known as colonnades and arcades which extend the Grey Street Precinct. The Grey Street area, was bounded by the over the pavement with balconies above, freeway on the south, which separated it from European CBD. It was many of which were enclosed to create an bounded by the Greyville Race Course in the North, which seperated it extra room to the adjoining residential unit. from a white residential area. The building followed a set pattern in that Prince Edward Street (Authors Own) Prince Edward Street (Authors Own) Prince Edward Street (Authors Own) Prince Edward Street (Authors Own) N GREY STREET PRECINCT GREY STREET HARD EDGES PRINCE EDWARD STREET denI tity and Culture c tin Ar hi ecture 111 C p er: 7ha t ec ion: 7. S t 3 year of construction, prominently displayed. This variation of Art Deco was incredibly unique to the area in that it contained elements of Islamic and Indian architecture, which were used in a systemic way within the fa?ade. The facade also features circular or horseshoe arches, single and double columns, balcony balustrade walls with intricate screening patterns. The Grey Street Area was the prime business and residential area of the Indian community of Durban but more importantly it was its cultural the ground floor was heart. In 1957, the apartheid government declared the area a controlled generally occupied by retail area. Later in 1973 it was classed an Indian Business Area. This decision facilities with residential brought an abrupt end to growth and development to the area. Any new units above. The residential buildings were to gain special permission from the Minister of Community units were accessed via Development. (Pillay, 2003:6). narrow lanes from the street which broke out into This initiated a process of decline in the area which eventually led to the private courtyards behind area falling into a state of disrepair that it still, to this day has not recovered the retail front. It is said that from. This does not hide the importance of the area. The reality is that the this typology is unique to Grey Street Precinct is quite similar to Sophiatown in Gauteng and District the Grey Street area of six in Cape Town. All three were thriving multicultural precincts that by their Durban. very existence were in defiance to apartheid policies. The area is a major Though it does not possess the close knit feeling of days gone by, it is component of Durban's Art Deco heritage. The buildings in general remarkably fortunate that it was not, destroyed by the state, a fate of both contained a fusion of Indian and African motifs, with the owners name and Residential Retaill Grey Street Typology Urban Plan Residential Typical Typology Section Grey Street Typology Section Grey Street Typology Ground Plan Retaill Retaill Retaill Retaill Courtyard Street Courtyard Retaill Courtyard ResidentialResidential Prince Edward Street (Authors Own) denI tity and Culture c tin Ar hi ecture 11 2 C p er: 7ha t ec ion: 7. S t 3 Sophiatown and District Six. The Grey Street Precinct can still be viewed today. It therefore still features important landmarks in South African Indian history. The most prominent of these is the Grey Street mosque which has been discussed through its adaptation to the local architectural vernacular. It is mentioned again due to its importance as a landmark within the Grey Street Precinct. Together with the adjacent Madressa Arcade it formed a large complex of interlinked buildings which provided a variety of functions to the community. The use of minarets (towers) and the colonnade create a unique street facade.The Victoria Street Market also acts as a landmark within the area. denI tity and Culture c tin Ar hi ecture 11 3 C p er: 7ha t ec ion: 7. S t 3 The markets that have been built over time in the Grey street area have always been central to the community in the area. The old Indian market which was built in 1910 was said to be Durban's most colourful and vibrant shopping destination. It was destroyed in a fire in 1972, which coincidentally occurred, after several failed attempts by the city council to move the market out of the city, for racially motivated reasons. (Van Niekerk, 1979:84-85). The Madressa Arcade which was built in 1927 is a unique mix of Victorian, Edwardian and Union Period styles, and yet it still resembles an intimate Bazaar though its strong use of eastern architectural elements. The entrance is marked with 2 minarets (towers). The arcade itself may be described as a street that is intimate with a narrow walkway. The shop displays spill out into the arcade allowing for a longer period of contact between the passerby and the goods on sale. The upper floors contain offices and workrooms with lightweight walkways and bridges which afford views onto the arcade below. The walkways run the entire length of the arcade which terminates with a view towards the Emmanuel Cathedral; as such it is an exceptional example of urban design. Madressa Arcade (Authors Own) Madressa Arcade (Authors Own) Madressa Arcade (Authors Own) Madressa Arcade (Authors Own) Emmanuel Cathedral (Authors Own) Madressa Arcade (Authors Own) Madressa Arcade Section (Harber, 1965: 56) denI tity and Culture c tin Ar hi ecture 11 4 C p er: 7ha t ec ion: 7. S t 3 The current Victoria street space. This point only serves to emphasis the insensitivity of the planners market was built during the who carried out the aims of Group Areas act, a trend that was also seen in latter half of the 1980's, and the Johannesburg Oriental Plaza. was a largely unsuccessful attempt at recreating the dynamics of the original market. The building itself is a hybrid of Neo-Victorian style with oriental motifs, and is based on a m isgu ided perception of what the Indian community desired or required at that time, which resulted in an almost theme park depiction of Indian Culture through the repetition of arch's and vaguely stylised minarets. The building is more like a fortress in that it does not make any attempt to interact with the urban environment. The building is closed off on all four edges, ignoring the vitality of the existing urban activity and trade that surrounds it. It denies the essential need of a Market or bazaar to act as a continuation of public space. Public Spaces should act as legible, human environments which through their use encourage interaction and growth between all occupants of that Victoria Street Market (Authors Own) Interior (Authors Own) 7.4) The Point Precinct The story of the Point area is one of struggle in what was a harsh and repressive environment. Come to the Point is the title of the book, edited For most people, The Grey street precinct is the by Guru Pillay, who spent his childhood years in the Point Area. The book most closely associated to the responded to the need to document the legacy of the Indians in the point I n d i a n area, as such, to my knowledge, is the only book of its nature. The book is Community. largely dependent on what is termed ?participant observation? and oral It has also hand me downs. (Pillay, 2002:6). It is a study of the point community been noted through the eyes of its prominent members at the time. The contributors to as a part of the book do not claim to be historians. Their stories however are of value in D u r b a n this study, as it provides a unique narrative of South African Indian History. history, as It identifies points in an (now non-existent) urban landscape or historic adding to the pieces of architecture that are of historic significance. multi-cultural diversity through its various mosques, temples, markets etc. It has also gained much The book tells the story of a greatly disadvantaged group, who overcame exposure, by the fact that it seemed as great odds to progress in life. The Point area in Durban is well known as the platform in terms of venues for mass the Gateway to the city. Its port serves as refuge for ships sailing the Indian rallies and protests in the Indian Ocean, the eastern seaboard of South Africa. For this very reason it was Resistance to Apartheid. the first home to the close knit community of Indian indentured labourers. It was here that Indians first stepped onto South African soil. The point area was of equal significance to Indians in South Africa, albeit during Their first experience on South the colonial times when Indians had just African soil was a short stay at the arrived in South Africa. As such, time Quarantine Station, where they has blurred this history and there is were examined for illness. Shortly minimal written documentation of it. after that they were sent to the cane Furthermore, conservation of buildings or areas of heritage within the Point fields or employed by the South Area was not maintained. African Railways and Harbours denI tity and Culture c tin Ar hi ecture 11 5 C p er: 7ha t ec ion: 7. S t 4 The map on the right shows the point area, in the mid 1900?s after the Indians had been forcefully moved. M ost of t he bui l di ngs dicussed within this section were already at this stage d e s t r o y e d . T h e o n l y reference point being the ? togt ? (meaning casual ) b a r r a c k s f o r c a s u a l workers . Th is bar racks also was eventually destroyed as seen below. ( , 2004)Sukhlal ( , 2002: 16)Pillay Quarantine Station - Now part of a naval base. (Pillay, 2002: 11) An Indian man points to the vacant spot that was the location of his place of birth; the Togt Barracks. . N denI tity and Culture c tin Ar hi ecture 11 6 C p er: 7ha t ec ion: 7. S t 4 (S.A.R.H) as labourers. The latter stayed in the point area in settlements Bamboo Square was the location of the barracks that housed labourers that were known as barracks. who were to be sent to sugar cane plantations. During their stay, they hoisted red flags on bamboo poles, which was the reason for the name Barracks according to Webster's International Dictionary is defined as: Bamboo square. A building in which many persons are similarly herded together. The A.B.C barracks housed Indians in the Point area during the late 19th The barracks as described by century and early 20th century where Swaminathan Gounden, a they were packed into unhealthy former inhabi tant were settlements to ?eke out a living and divided into units. A single raise their families as best they unit was made up of 4 rooms could.? (Pillay, 2002:16). In stark each 5m x 5m, with a different contrast to this, (left) and within the family in all 4 rooms. Each same vicinity, whites occupied Edwardian terrace houses and Edwardian room was generally occupied double storied semi detached houses. by 8 people and served the purposes of a kitchen, dining It is also of Interest that the Indian community did not have a temple or room, lounge and bedroom. If there was married couples amongst them, mosque in the area. The Hindu's went to the Somsteau Road Temple and curtains were hung in a portion of the room to afford them privacy. Ablution the Muslims to the Grey Street Mosque, which have already been facilities were communal, with up to 12 people having to use a toilet in full discussed. Schools were also non-existent within the area apart from a view of each other. (Pillay, 2002:13). self made wood and iron structure built in Shepstone Street, which held Tamil and English classes. The barracks themselves were identified by the type of work its inhabitants were 'asked' to do. The Post Office Barrack on Point Road was inhabited Despite these harsh conditions, the point area was home to many Indians, by employees of the post office, which was across the road from the for almost 100 years. Despite this background the community went on to barracks. produce many prominent members who became teachers, (the author, Guru Pillay was the headmaster of my primary school during my time Indian Barracks at the point in 1890 ( , 2002: 12)Pillay Edwardian Terrace HousesRecently Restored on Escombe terrace (Pillay, 2002: 17) ( , 2002: 12)Pillay ( , 2002: 17)Pillay denI tity and Culture c tin Ar hi ecture 11 7 C p er: 7ha t Se tion: 7.4/5 c there), scholars, sportsman, artists and musicians. (Pillay, 2002:68). 7.5) Conclusion A mark of their success may be the fact the they even managed to build a It is of most importance that, through architecture, culturally and socially university for black students during the apartheid relevant elements are given clearest expression. Any built from era. The original location of the university is on the irrespective of its function must attempt to reflect an identity fixed within its other side of the point area in what is now known context and through philosophies, and influences derived from it. as the bluff region (left). Its is now home to a naval base. The university itself went on to become the During the 19th century, a variety of foreign architectural idioms and University of Durban Westville. (Pillay, 2002:60) eclectic stylistic fashions were imported with minimal change or adaptation to local conditions. This was done in a manner tah suppressed vernacular During the 1940's, the city council decided to art and architecture. develop the Point area into an Industrial Centre. This led to Indians being removed and In a South African context, the apartheid government acknowledged the accommodated in remote townships such as importance and influence of art and culture. Due to this they attempted to Phoenix and Chatsworth which were outside the limit and strangle the flow of non western art. Through the oppression of city. Many actively took part in the liberation movement during the 1940's what was considered 'Black Art' (Mongwe, 1996), the state was successful and 1950's. This act of courage earned many of them trips back to the in convincing people of colour that they did not have a worthy heritage of point area where they were detained in the old point prison in solitary their own. confinement for extended periods of time. They were charged under the Suppression of Communism Act and the Unlawful Organisations act for Calls for a more Afro-centric design approach have increased in recent partaking in activities linked to underground movements who were years. The author of this document is in agreement if the term Afro-centric conspiring to overthrow the government. Upon their release from prison refers to a heritage or design that is generated through concepts that are they were served with an order by the minister of Justice under the derived locally. In referring to foreign ideals one must do so if it is adapted to suppression of communism act, under which they were not allowed to work within the South African context. issue statements to the press. A history that is still to this day is still to be fully documented. The likes of Pillay have made the all important first step, Identity in South Africa traditionally has always been polarized between the information is still not accessible to the greater public in general. Western and African ideals. These are two highly generalised terms. Yet it ( , 2002: 60)Pillay The Former Point Prison (Pillay, 2002: 41) denI tity and Culture c tin Ar hi ecture 11 8 C p er: 7ha t ec i :7.5 S t on still does not include or refer to all affected. South African Indians as they This leads one to question, is a 150 years of history of a people not relevant are relevant to this study have a rich heritage in India, but of more or long enough? Also at what point is their architectural history, one that as relevance to their everyday is the 150 years of South African history which we have seen is so unique to the place and circumstances that have led to is a cornerstone to their history, identity and culture. it, allowed to be referred to vernacular? In those 150 years, South Africa has overcome the grip of both Colonialism In attempting to give an insight into how we and Apartheid. A fact that allows one to see that a 150 years is a long time. may answer this question, I refer back to According to vale, in order to acknowledge identity one needs to: the 'Natal Verandah House.' An archetype that is quite simple in its application, but ?Observe the residues of past civilisations, absorb them, and try to bring great in terms of its symbolic status. A forth a new generation of forms that recall the past without mimicking or concept that works extremely well in the trivializing it.? (Vale, 1992: 282). Durban climate, but if applied in Johannesburg, simply creates a space It is interesting to note that Vale refers to the plural of both civilisation and that is not usable for half the year. All the more reason that ?this prototypal form. This leads one to ask if the recognition of more than one identity may form is of considerable importance in the story of the architecture of be represented through specific cultural aspects via architectural design. Durban.? (Kearney, 1984: 5) So is the verandah style really a part of our vernacular? Hardly so, one might argue, if one points out that it originated Amos Rapoport calls for ?wide ranging comparative cross-cultural in the South of England or that it has been used and evolved extensively in research which places emphasis on: many different parts of the world, including North America. (Kearney, 1973:41). ?Understanding the cultures of different groups- their structures of values and symbols, their patterns of behaviour in different settings, their Yet at the same time we must acknowledge its undoubted benefits. propensity to establish domains and clusters and the influence of these on the physical nature of their environment.? (Rappport, 1983:34) ?The first was that it provided shaded transitional spaces between the house and the garden or street. It allowed for exposure by the user to cool Vale places emphasis on learning from the past, while Rapoport identifies breezes, a source of much needed comfort in the high humidity of Durban. acknowledgement of diversity that is contextually relevant. Verandahs also encourage movement of cool air through the building Verandah House in the Point Area (Author?s Own) denI tity and Culture c tin Ar hi ecture 11 9 C p er: 7ha t ec ion: 7. S t 5 through rooms that It is of no doubt that architecture is linked to contextualism. The theory of open out into them. parallelism, argue that things happen at different times, in different places, in the same way and further validates this notion. Climate, topography and ?The second reason local building materials are easily identified as aspects that are essential in was the protection it bringing about regional and local identity. o f fe red the ma in structure from the sun. Despite this, different regions sharing the same climate, typography and The verandah house building materials frequently produce identities that are entirely different. t h e r e f o r e h a s Other forces are of greater importance, and those that are seemingly most verandahs around the influential are social, cultural and religion. (Rapoport, 1969) entire structure of the house. Along the North, West and East sides protect the walls. A verandah on the south was justified in that it offered a cool place in summer. ?The third was for its aesthetic simplicity, which ironically at the time of its initial use was seen as a pleasant alternative to the drab colonial house. (Kearney, 1973: 41) As such the verandah house is an example of how a foreign ideal that if relevant in terms of its adaptability to a new context, in terms of aesthetics and function, can through its usefulness become integrated into that society. It also informs us about the relationship that may develop between the user and the built form if we as designers allow it. The built form should also in addition to being intrinsically relevant, allow for different interpretations by different users. Users from different cultures, who are allowed to connect to each other through their most common element, the uniqueness of the space they share. 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Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural E CU T REID T T U N I Y & L H EN RC CTURI A TI E A & LS L OF TRA P TO DE O I ICSO S 1 02 C H A P T E R 8 8.1) Introduction identity is intrinsically linked to the function of capitalism and trade. (Soni, 1992). The fragmented cities of today are one of the most enduring legacies of Apartheid. The fragmentation of space allowed for separate and essential ?Marxism emphasises the role of economic relations by arguing that art in a identities and was implemented through various acts. As such it served to capitalist society is the domain of the ruling capitalist class and is therefore confine different races into separate absolute spaces. It could even be used by them to oppress the working classes culturally and install in them argued that it sought to exploit the differences in people in the interest of values which indoctrinates them to accept the status quo, and remain in capital accumulation, white supremacy and racial separation. subordination as a class.? (Mongwe, 1996: 28) Apartheid was also a reality that influenced people's outlooks of the world, Both Marxism and apartheid attempts to relate identity to capitalism or their role in it, and the actions they took. The application of apartheid laws territorial space, and are essentially both modernistic principles. They both were not only confined to laws and legislation. Architecture and urban propose essentialist and deterministic links between space and identity. planning were also used as oppressive measures that reinforced Apartheid however ensured racial and ethnic barriers were solidified and apartheid?s political aims. yet it allowed for capitalism and the emergence of a state structure. In most social interactions, Apartheid ensured the primary characteristic of identity Most architects will dispute whether their work is of a political nature. One was that of race. may argue however that the political will always overwhelm the artistic. This is due to the fact that politics which organizes society is also a Today's democratic society has led to the questioning of such fixed identity determinant in the distribution of space, social activity and interaction. stereotypes. With the abolishment of Apartheid, this oppressive system (Mongwe, 1996) was ended. Democracy has created incentives for people and the country as a whole to pursue alternative strategies in their interactions with the Apartheid worked on the premise that all aspects of society, human activity, world in general. politics and the urban fabric were all based on a single variable. The colour of one's skin. In overpowering all aspects of life, apartheid created the ?Each person adapted apartheid's rules and patterns, or created new illusion of human and institutional control over people and their social ones, in order to align their behavior with their understanding of the world, interactions. Essentially, it fixed racial identity to specific space and both as it was and as it should be. This variety meant that there was no separate development. Marxist ideology on the other hand argues that widespread, stable set of social rules that all South Africans could call upon denI tity and Culture c tin Ar hi ecture 121 C p er: 8ha t ec ion: 8. S t 1 denI tity and Culture c tin Ar hi ecture 122 C p er: 8ha t ec ion: 8. S t 2 as mutually accepted standards for behavior in their interactions.? (Freuh, 8.2) Political Identity and Social Change 2003: 14) ?To some degree every study of South Africa must confront the idea of On February 3rd, 1997, a new constitution became South Africa's official identity. Most of the work that has dealt with it tangibly has tended to equate policy of political justice and equity. The constitution and the right to vote identity with either race or ethnicity, or sometimes even class. By reducing marked the country as a free and equal democracy. These changes in our identity to merely one of it manifestations, one fails to appreciate the full political identity are no different to changes to the South African social diversity, both structurally and temporally, that constitutes the complex of psyche in general. One may assume that the rebuking of apartheid laws identity for South Africans.? (Freuh, 2003: 42) would definitely not head to sudden 'standards for behavior in their interactions.? Change worldwide, and in particular to our local scenario, the abolishment of Apartheid allowed many people to reconsider the role of the individual This analogy may be taken even further in that, like society, architecture is within society. Freuh states that liberal observers consider the term Identity also in a state of transformation. Modernist notions of the built form may be as an appropriate platform for discussing ethnic difference. At the same seen as autonomous objects, the perfect solution to a standard set of time it can identify similarities in others, that which we see in ourselves. problems. Contemporary architecture if it is to be relevant and reflective This may be illustrated through the notion of the ?constitutive outside? must be a gradually evolving and changing element. In doing so it may where identities are built up, purely on the notion of the 'other.' (Derrida, provide clues as to how architects may create stages for interactions. A 1974). building may be seen as a process where community participation may be an intense part of the process. Works of architecture may be evaluated not Identity is therefore relational; the assertion of difference is a necessity for only in terms of its functional provisions of a brief but also in terms of its the definition of identity. This notion when taken to a group of people is fulfillment of social need for the community it serves, in terms of transferred to the notions of 'us' and 'them'. employment, capacity building, empowerment and shared cultural expression. (Marschall, S & Kearney, 2000) ?The existence of other becomes a condition of the possibility of my identity since, without the other, I could not have an identity. Therefore, every identity is irremediably established by its exterior and the interior as something always contingent.? (Mouffe, 1995: 264) (Freuh, 2003: 14) denI tity and Culture c tin Ar hi ecture 123 C p er: 8ha t ec ion: 8. S t 2 Public discourse historically has long associated personal identity and the be seen as an ever changing process and is continuously in a state of normal development of the individual. Yet, individuals are also linked and hybridization. As such there are no 'natural' and 'original' identities and connected to society by various entities which allow them to identify globalisation is just a process that confirms it. Identity is borne of a themselves as an individual but also a group. As such identity, by its very multitude of interactions, which takes place within confines that are nature is personal but it can also be social and spatial. impossible to define. (Mouffe, 1995) ?The Greeks believed that Identity was only conferred unto people by Numerous researches have been carried out in understanding why membership and participation in a community. Thus the rituals and apartheid occurred. Though thought provoking in its own right, we need to traditions of the community gave people their values, established bonds inquire how the transformation into an apartheid society occurred. Of between one another, and imparted meaning and purpose to their lives. interest to us, is the change as seen within the built form. How did Identity This approach to identity assumes that the freedom to shape one's identity, Labels effect our architectural expression? At this point it is worth noting whether it is individual or national, is to acknowledge pre-determined that social transformations on a mass scale are very complex phenomena parameters as set by one's community or state. Such a concept of identity and the transition from apartheid to democracy is not the only attribute in during South Africa's apartheid years would have meant that over eighty change in identities. percent of South Africans would have had to accede to being 'second-rate citizens' ? the so called non-Europeans.? (De Jager, 2005: 2) There must be no doubt however that this change must emerge within the built fabric. Architecture is very much a part of the everyday. At its worst it Apartheid and the subsequent non- racialism as a governing ideology are was used to accentuate the social, economic and political problems incomplete due to it being indeterminate. Freuh states that Identity Labels initiated through the grip of Apartheid. We need to respond to the fact that it are specified mediums by which people acquire their sense of identity. is still manifesting itself in society today. Architecture at its best can reflect Identity labels define how a person relates to another. (Freuh, 2003). and redress the paradigms and changing value systems of South Africa's Identity labels as such are guidelines that when viewed in totality are a set transforming society. (Marschall & Kearney, 2000) of rules that shapes society to its current form. The Post Structuralist approach casts doubt as to whether identity may be defined conclusively. Identity cannot belong to one individual, and conversely no individual may belong to a singular identity. Identities should denI tity and Culture c tin Ar hi ecture 124 C p er: 8ha t ec ion: 8. S t 3 8.3) National Identity ?Not long after the Lincoln Memorial was built in Washington DC, its image displaced the words one cent from the center of the American penny. National Identity is not an attribute that a country gains at times of Political Likewise, on the nickel the head of Thomas Jefferson is backed by the Change or upheaval. It is for this reason that we are still pursuing a national image of his home, Monticello. These two buildings and a few others in and identity more than a decade after the end of Apartheid. National Identity around Washington DC, not only are associated with individual statesman must be cultivated over a period of time after a regime has gained political but have become infused with the symbolism of American democratic power. As such national identity is not an aspect that may be implemented government.? (Vale, 1992: 48) with finality within the built fabric. Architects cannot control the propagation of a buildings meaning or symbolism. They can however express the It has been stated that, in the pursuit of an architectural identity, which is societal status through meanings of symbols relevant at that point in time. relevant to all identities, the design process must make use of the process of abstraction. A building too far abstracted from any known point of The representation of national identity is always the portrayal of a specific reference, may be resented, resisted or even ignored. opinion. This may be the architect themselves, or even the client, a politician, who has his own requirements as to the message portrayed. Marschall states that: However, for National Identity to be a noble concept, it has to be centered around ideas that are representative throughout the general populace, a ?The challenge is to abstract in a way that contributes to the existing nation populace which may not possess the knowledge that builds upon what is there to read into symbolism or metaphor that is too w i t h o u t e x a c e r b a t i n g abstracted. interethnic tensions. The task is to develop a rich ambiguity, Public assertions of a collective unity may take so that the building neither on many forms. Symbolic associations are a seems to serve one faction powerful tool in the process of designing our built nor seems so neutral that it environment. Architecture and Urban Design could exist anywhere.? itself, have the ability to become symbols in the (Marschall & Kearney, 2000: reflection or construction of a national identity. 154) The view up the central vista, New Delhi with the Viceroy?s House at the end of the axis.. Originally Designed to reinforce British Rule in India, It now serves as a setting for celebration of India?s Independence as seen here on Republic Day in 1996. The Union Buildings. A powerful symbol of the power and dominance of first the English then the Apartheid Government and now houses the Government of the New South Africa (Vale, 1992) (www.google.com) denI tity and Culture c tin Ar hi ecture 125 C p er: 8ha t ec ion: 8. S t 3 A building that is successful in its abstraction will relate to its context, its A culturally neutral architectural design has been touted by many as a society and will express the identity of all the diversities that constitute it. In possible solution. However this is highly improbable when one considers contrast Rem Koolhaas stated that he felt that the loss of identity can free that an architect as with other artists draws from their own social the architectural imagination and provide designers with a blank page to background to communicate their own understanding of an ideal or notion. work with thereby liberating the design process. It is of importance to then note that a culturally neutral architecture is improbable and undesirable as ?architecture shapes society and society ?Perhaps we have to shed our identities. Perhaps identity is constricting shapes architecture.? (Foucault, 1993: 169) us. What is left after identity is lost? The Generic.? (Koolhaas cited Pearson, 1996: 19) As such the ability of architecture to reflect a particular culture through the projection of specific imagery and symbolic representation remains a This however should be considered to be a purely modernist notion. In crucial one. However due consideration must be taken in selecting ignoring aspects as integral to society such as identity, architects risk imagery. Recent attempts at expressing identity in African architecture becoming incapable of serving that society. Architectural innovation should have alluded to the use of bright vibrant colours which has its role in African be driven by the people it serves and the place they inhabit. Architecture culture. However this is not always depicted in traditional African that dispels the essence of a culture, it's identity is one that is rendered architecture. When they are it's the colour used that is of symbolic value. meaningless. Even then, it may be interpreted in a different way, by people of different During the 1980's architects through Post Modernism attempted to identities. One may conclude that meaning should not be literally celebrate diversity. In doing so they managed to only reinforce, through translated in the articulation of the buildings like fa?ade treatment. One architecture, apartheid repressive social limits. (Marschall & Kearney, must start with typology and the use of basic patterns in space making as 2000) well. (Marschall & Kearney, 2000: 154) One must also acknowledge the effects of time on architecture and its ability or lack thereof to outlive the Post Structuralism poses intriguing theories with regard to political power, current version of the culture and society by which they are produced. All representations and identity. (Simonsen, 1996) Within the South African identities are affected by time especially when one considers that they are context this notion challenges conventional takes on division and relational and differentiated to one another and constantly participating in a representation of identity and its portrayal through history. Instead, it give and take exchange of traits. reasons for a synthesis between the built fabric, space, culture and identity. denI tity and Culture c tin Ar hi ecture 126 C p er: 8ha t ec ion: 8. S t 3 Vale states that: only in the context of this dissertation but also to architects dealing with similar issues, pluralism may potentially be the solution. ?Only if the building is able to change along with the rapidly changing society around it can it avoid being the projection of some frozen moment According to Webster's International Dictionary Pluralism may be defined in political and cultural history, associated with a single stage in an as: institutions growth and a single regimes iconographical preferences.? (Vale, 1992: 279) A system that recognizes more than one ultimate principle and identifies no single or dominant culture, belief structure or lifestyle. Architects in attempting to celebrate an identity, may replicate forms, colours, textures and scales of their interpretation of relevant culture. In Apartheid may be in its ideal the antonym to pluralism in that it distorted the doing so they may potentially produce work that may appear to be notions of identity. Pluralism however is a celebration of the many successful, but on closer inspection is little more than inappropriate components that make up national and regional identity. It offers a solution architectural jargon. In referring to (not replicating) relevant elements one as to how common ideals between different cultures and identities may be must insure that they are in fact relevant to the building, its context. One used within a context specific to all cultures concerned. also needs to ensure that elements referred to are understood as individual concepts but also as part of a combination that makes up the ?What makes the building Indian?? (Another relevant question asked in a entire composition. design jury) Though a complex task, symbolic abstraction offers a solution to the The author is of the opinion that in the scenario where it is primary concern dilemma of the representation of identity and culture. to portray certain ideals of a particular culture, pluralism is still highly relevant. In selecting referential elements, one should attempt to find ?Why are you focusing on one group of people when we as a nation are multiple meanings within the selected elements. A courtyard building as a trying to foster togetherness?? (A question posed to me in a mock jury of my conceptual generator is irrefutably a riposte to the above question. One thesis proposal.) could also argue however that as much as the courtyard is of the Indian essence, it is a typology that is prominent within many countries and Given the sensitivity of issues such as race and ethnic differentiation and in cultures. As such it opens the building up to multiple readings by multitudes light to South Africa's recent past this question does need addressing. Not of people. An Indian will be able to draw upon the intended metaphor. A denI tity and Culture c tin Ar hi ecture 127 C p er: 8ha t ec ion: 8. S t 3 person of a different identity, due to the abstract nature of the courtyard will read differently into it. A person of African heritage could recognise the Kgotla in it. As such the buildings begin to act as a platform for discussion and comparison between seemingly different identities. In celebrating difference one may be surprised in the similarities that may appear. Pluralism therefore as described by Norburg-Schulz is ?A togetherness of interacting cultures.?. (Melvin 1988:101) As with democracy, pluralism should be seen as a social construct that celebrates diversity through its basis of interaction, understanding and the harmonious existence of people with different identities. ?E pluribus unum, 'out of many one.' Is no longer quite adequate, since this unity has all too often meant the values and tastes of the dominant culture.? (Jencks, 1993:104). Post apartheid South Africa has facilitated renewed discourse and understanding by celebrating peoples' differences. Jencks states that a positive identity can only be fostered through reciprocal dialogue where individuality and difference are respected. (Jencks, 1993). Jencks proposes a heterogeneous architecture that challenges dominance, It encompasses the acceptance of ?the different voices that create a city, suppresses none of them, and makes from their interaction some kind of great dialogue.? (Jencks, 1993: 75) denI tity and Culture c tin Ar hi ecture 128 C p er: 8ha t ec ion: 8. S t 4 The site itself sits on the Braamfontein ridge and was selected due to its proximity to the city and also for its potential in rev i ta l iz ing adjacent neighbourhood such as Hillbrow. The context is therefore made highly important in the search for a meaningful expression. The site itself is of significance in that it was seen as a symbol of the former apartheid state. 8.4) The South African Constitutional Court The constitutional court is the focal point of the design that is surrounded by OMM Design Workshop and Urban Solutions. by buildings of significant historical value. The old fort was initially a prison to British Uitlanders in 1882 and was remodeled into a port in 1899. It again The new constitutional court of South Africa is one of the most important became a prison, to Boer Rebels and was later to become the prison that public buildings to have been built post apartheid. It has become a physical held several political prisoners including Mahatma Gandhi and Nelson symbol of the democracy and freedom of the new South African Mandela. (Peters, 2004: 2; Sachs, 1998: 29). As such the site offered the constitution. potential to become a place of national significance and also a place that was accessible to the greater public. This is significant especially in The building was borne of the need to, of housing the constitutional courts response to Koolhaas's (Pearson, 1996) theory of designing on a blank that came with the passing into law of the constitution of the new Republic. page with no consideration to cultural identity. The design was chosen through a process of a competition encompassing the criteria of the building being an appropriate architectural expression South Africa's past should always be seen as central to the development of that would fittingly represent the new democratic institution. (Peters, 2004: the future and should never be ignored. The placement of the 2) Site Plan (Peters, 2004:3) (www.google.com) denI tity and Culture c tin Ar hi ecture 129 C p er: 8ha t ec ion: 8. S t 4 Constitutional Court on the very site that denied many people the right to freedom, the place that was used to contain those that fought the most The design therefore makes a concerted effort to responding to its context. vigorously allowed for the space to be reborn. It converted one of South The fragmented footprint allows the building to conform to the scale of the Africa's most painful public memory spaces into a house of democracy and adjacent buildings. The retention of certain freedom. In doing so it removed the negative identity associated with the elements such as the existing stair wells of site. the partly demolished awaiting trial block is symbolic of an integration of the past with Judge Albie Sachs stated that: the future. The stair wells are capped with lightweight structures which in lighting up ?A new generation court rising there would physically dramatise the the night sky; act as landmarks on the city transformation of South Africa from a racist, authoritarian society to a skyline. The concept of past and future is constitutional democracy.? (Sachs, continued with the reuse of bricks from the 1998: 29) demolished awaiting trial block in the construction of the Constitutional Court. The brief requested that the entire The walls make use of simple articulation precinct was to become a public space with loosely stacked bricks floating above for the city, a symbol for democracy for a glass strip. the nation. The precinct includes Human Rights Commission, the ?It is symbolically open or can be Constitutional Court, a Public Square seemingly readily be broken apart, again and museums. in stark contrast with the surrounding solid walls of the prison.? (Du Toit & Le Roux, In the winning proposal, the architects chose to seek ?the power of a pre 2004: 67) eminent building without the monumentality.? (Schaug, 1998: 46) The aim of the design was to incorporate the existing built fabric with new forms that The design attempts to dispel the long would fit into the greater Johannesburg spatial, experiential and cultural standing notion that African architecture is not majestic or impressive. This system. is done through the design of the great African steps, a series of terraces (Decklar, 2006: 20) (Decklar, 2006: 20) Floor Plan (Decklar, 2006: 19) denI tity and Culture c tin Ar hi ecture 130 C p er: 8ha t ec ion: 8. S t 4 that taper along the site culminating in that, ?distinctly South African buildings would have to acknowledge local the main public foyer to the court. This human need and social values; respond to local climate and environmental celebration of the aesthetic is continued factors; achieve excellence with limited means; and employ technology throughout the building. The entrance appropriately to make best use of local labour resources.? (Radebe in doors to the main foyer are 9m high Japha V & Japha D, 1998: 26) The building pays respect to its context but timber doors that are made up of 27 great attention is also paid to passive environmental control. carved panels that are also symbolic of the 27 basic human rights of the The design also seeks to elevate the status of informal and alternative Constitution. The emblem of the court is building technologies and materials by incorporating both rural and urban a tree and is a symbol that is reoccurring both through the artwork of the building practices in order to contribute to an African Identity. As such, the building but the architecture itself. public are involved in the creation and expression of the architecture. The design makes a conscious response to context with regard to its siting The Constitutional Court is a and footprint. It has been argued however (Davids, 2006: 75) that the relevant case study in that it is the precinct lacks a living entity. The power of context and place is vital in the first of the major post apartheid c rea t i on o f i den t i t y and buildings discussed. It is also of architecture plays an important relevance due to the fact that is role in the way a society commemorates the past but also operates. This should involve the celebrates the future and incorporation of culture but also p r e s e n t s a n a p p r o p r i a t e nature. aspiration to a public cultural expression. It may serve as a The design offers clues as to catalyst to innovative concepts in architecture that can contribute to what might const i tute an a creative and dynamic identity for the country. The design also appropriate architecture for the though it is very much a government building, does not allow the South African Democracy but it is building to portray a dominant image. In allowing for interaction with also in keeping with the notion people through the everyday it is afforded transparency. Internal ?Trees? (Decklar, 2006: 20) The new addition with the maintained s ta i r wel l in the foreground (Decklar, 2006: 20) (Peters, 2004: 5) denI tity and Culture c tin Ar hi ecture 131 C p er: 8ha t ec ion: 8. S t 5 8.5) Cultural Industry cultures, the South African and the Indian. The South African Indian in this process is thereby exposed to a process which will allow him to identify Within the analysis of Indian architecture it was briefly alluded to that India similarities within two aspects of his much hybridised culture. The potential has a strong craft tradition that has been developed through several in this is in the author's opinion is immense. This analogy creates means including their architecture for thousands of years. It was also noted opportunities where architects may through the built form begin to that South Africa is also blessed with similar capabilities. The trade aspect contribute to the emerging International Cultural Industries market. of the proposed institute for this dissertation is seen as a building that along with encouraging trade and growth between India and South Africa on a According to UNESCO, cultural industries continue to grow steadily. They multinational level allows for the potential for this line of exchange at a are the material production and reflection of a context and generate an grass roots level as well. environment in which ?each person may establish their own terms of reference for engaging with the world, and in this manner contribute to a The analysis of the Handloom pavilion by Charles Correa gives insight into global dialogue? (Low 2003:35). how a building may begin to celebrate a craft aspect of a community. Raj Rewal's Hall of Nations, give us clues as to how a building may be Cultural Industries according to Brigitte Mabandla, Deputy Minister of Arts, designed to maximize the use of available materials but also how Culture Science and Technology may be defined as Industry that combines community may become involved within the project through using relevant to promote the creation, production and distribution of goods and services construction technology. As in the hall of nations with the use of concrete, of a cultural nature. (www.gov.co.za) this may be done with technologies that the community is already well versed in. The department launched the Cultural Industries Growth Strategy in 1998 which has four central premises at its core: The Proposed South African Indian Institute of Trade and Cultural Relations has the potential of playing a similar role as that described ?The cultural industries can and do create employment and wealth above. Pluralism has been discussed as a probable conceptual drive for ?These industries often produce significant returns on investment the design. The notion of a building that empowers a community through its ?The cultural industries have the potential to drive our new economy by construction and thereafter through its use and maintenance may be seen generating innovative and creative human capital. as an abstraction of the concept of pluralism through the built form. In doing ?Developing these sectors requires a collaborative approach between the so the building itself allows for interaction and growth between two public and private sectors. (Www.gov.co.za) denI tity and Culture c tin Ar hi ecture 132 C p er: 8ha t ec ion: 8. S t 5 The crafts related industries include the South African Music Industry, the purpose that is bigger than being Indian or South African Indian the televison industry and the publishing industry, each worth billions of rand. building seeks to become transparent in its dealing with the public. The built industry is surely bigger that the three mentioned above and in developing appropriate strategies can empower people through the celebration of culture and in the process add to 1.2 million people currently employed in the craft and related trades sector. In doing so, the thesis proposal will be contributing to the essential principles stated above. By doing so this will increase the chances of Government participation and approval which as outlined within the feasibility study is paramount to the success of this proposal both in the manifestation of it, but also the successful operation. It is the author's opinion that relevant applications within the built form may be found that tie into the concepts of pluralism and symbolism. For e.g. Bamboo is intended to be used within the building. It is a material that is used extensively in India but it is also a material or plant that is abundant in Kwa Zulu Natal. (Kearney, 1973: 42) It is also synonymous with the Province, and in this we may find a dual meaning or cultural interpretations. Its use however is also highly relevant in that it flourishes within the Kwa Zulu Natal context. As such it is an appropriate material in terms of sustainability. It may be argued that it would be of high maintenance so close to the coast, but its abundance and ability to provide employment justifies its selection. It is also in line with the essence that increased interaction between cultures will lead to better understanding and growth. In providing a Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relation Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural C NC I NSS &U O O L ERE M DATIONSCOM N 1 33 C H A P T E R 9 9 Conclusions and Recommendations defined and due to its interactions with other identities cannot be treated as pure or original. However a homogenous identity is also unattainable. The theoretical discourse within this dissertation has covered a variety of theoretical and conceptual frameworks, all relevant to the representation ?This highlights the dilemma of the new South Africa in general: how to of identity within the built form. One of the aims identified, initially was to define and recognise communities without perpetuating apartheid analyse existing perceptions of identity within the built environment and its categories, attitudes and behaviours; how to support communal cultures in repercussions in architecture. This was attempted through the analysis of a way that will bring communities together instead of setting them apart or changing perceptions of identity through time and ways in which even pitting them against one another.? (Martin in Zegeye: 2001) architecture has been used as an expression of a society. Identity by its definition is intrinsically linked to the history and culture of a person. As As such it is appropriate to refer to the multiple strands that make up South such an analysis of how the history of identity and its architectural African Identity as no one identity is sufficient in representing South African manifestations was carried out. It concluded that a person's understanding diversity. Architecture in expressing a synthesis between different of their own standing in society is dependent on a firm understanding of identities may begin to contribute to the eradication of oppression and who they are and their history. In doing so a person is offered a firm basis segregation, obstacles to transition and development. Architecture must for interaction with other cultures. be centered on the overlapping ways in which different social groups define themselves. Buildings though silent and abstract have the ability to The research also aimed to highlight rather than conceal the power of record and communicate information about the society that builds it. The identity in structuring a national society through its built form. Interpretation hybrid nature of South African identity is important to the forms of through pluralistic symbolism is seen as a viable alternative in beginning to expression as relevant architecture must respond to the heterogeneous create a national identity through architectural expression. group identity of South Africa. South African historically has been found to be characterised by The need for community interaction and participation is a necessity in the oppressive definitions of identity. It has been suggested that boundaries of development of identity but also the interaction between different difference as prescribed by apartheid and still effective today may be identities. Public spaces and buildings have the power to become rendered permeable, through continuous interaction. The concept of a platforms of collective social and cultural experiences, as well as an South African Indian Identity is though different, inseparable from the extension of community identity. national identity. Identity due to its changing nature cannot be clearly denI tity and Culture c tin Ar hi ecture 134 C p er: 9ha t ec i n: S t o - The research has clearly illustrated how identity is reflected within the built form. This point has been influential in the design process for the Indian Institute of Trade and Culture. Though the building is a celebration and expression of a singular identity, it will allow for multiple interpretations by people of different backgrounds. It is not possible to offer an exact representation of an identity as identities are continuously changing. It is necessary therefore for the building to change and adapt in accordance to the change seen in the community itself. Architecture in this way can continue to play an integral and influential role as a symbol of the community. The essence of architecture is reflective of the social, political and economic climate of a community or group of people and is a documentation of that point in time. Our architecture has the potential to facilitate a process of contemplation of society's ills and a response or adaptation to it. denI tity and Culture c tin Ar hi ecture 135 C p er: 9ha t ec i n: S t o - Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relation Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural S G RE O TDE I N P R 1 63 C H A P T E R 1 0 10.1) Introduction continuously changing. We have seen this within the concept of the museum in the global and South African context. The analysis of Indian Throughout the theoretical discourse within this dissertation we have seen architecture has also alluded to change. Even the contemporary that the singular notion of identity is being questioned. Identity can no architecture of India, cannot be truly categorized as Indian. Thousands of longer be defined as being part of an exclusive membership, be it as an years of interaction with external influences (e.g. Islamic and colonialism) individual, a community or even a nation. has resulted in an architecture that has evolved through interaction with the other, and in being adapted to a new context has evolved to become an The characteristics of regionalism and globalization have been discussed. intrinsic aspect of that new society. Yet they have maintained the essence The case studies that have been referred to, have all attempted to seek a of tradition and regionalist aspects without mimicking the past. Even hybrid relationship between regionalist and global influences. At the same buildings of power that speak of concepts of national identity have over time they have recognised the need for place imagery and identity as key time transformed in meaning. aspect to their design methodologies. It is a representation of the fact that nations worldwide, (including South Africa) are made up of a variety of Life is a process that is always in a continuous state of change. The world is diverse cultural systems that continually interact and intersect with each shaped as a singular whole, and everything within it is affected by other. National identities are today multi ethnic compositions of cross everything else. No singular organism lives independently off its elements from various cultures. environment or continues unaffected. Every change is connected to a larger context, and affects it. If architecture is to be representative of this, it ??traditions cannot simply be inherited; it must be labored for you. You must be done through a holistic overview with an understanding of these can't approach it without a historical sense, and a historical sense means changing parts. Architecture is only of relevance if it is appropriate to other that you appreciate the pastness of the past as well its presence.? aspects of life. (Rykwert, 1982: 16). Architecture should therefore be representative of the fact that the concern At the beginning of the theoretical research the primary concern of the is not the danger that identity and culture may be annihilated by author may have been to address the notion that cultures and identities are globalization and other external influences. Rather it should be driven by being eradicated. Architecture as part of the everyday was seen as a the basis and the need to understand the formation of ethic, regional and potential tool in the preservation of a culture, heritage or identity. But as we national identities through intercultural hybridization. If architecture is to have seen, architecture in being such an integral component in life is also retain or regain a position as an integrated and integral part of culture, denI tity and Culture c tin Ar hi ecture 137 C p er: 10ha t ec ion: 10. S t 1 rather than a detached club for aesthetics, architects must continually 10.2) Conceptual Generators: probe the dynamics of the relationship between a building and it's constantly evolving society. In light of the discussions, it has been decided that the design of the South African Indian Institute of Trade and Cultural Relations will need to make Though architecture should always be driven by a regionalist approach, reference to South African Indian identity. At the same time it should also the response to local climate and technology does not guarantee allow for the building to become a platform for continued interaction and regionalist architecture. Culture is an all important third component. Less cross pollination between it?s users. tangible aspects of culture such as values, thinking, methodology and actions also govern our decision making process to climate, topography, The building should above all be reflective (like its contents) of the notion and technology. that to view any one culture as totally disparate and isolated from world influences is naive and short sighted. The building will thus be conceptually Paul Ricoeur states that regional or national cultures must today more than driven by the need for it to be a metaphor of the view that a particular ever, be ultimately constituted as locally adapted manifestations of a 'world identity is a concentration of a particular mix within a larger world culture. culture.' (Arbaliev, 1982: 65) This notion advocates the use of a more universally language of architecture incorporating local elements and skills Though reference will be made to Indian architectural principles derived as a basis of a hybrid response. In doing so, architecture can stimulate and from the discussion within chapter six, it must be done if appropriate to the develop ideas. At the same time it must ensure that it does not draw purely South African context and in keeping with the prerequisite stated above. from an international language which could render it monotonous. At the The building will also make reference to principles derived from the same time one must not be too sentimental, as this could lead to self analysis of South African Indian Architecture. The reinterpretation of these indulgence and isolation. principles aims to be done through the architectural standpoint of plurality, metaphor and symbolism. In doing so the building does not only pay tribute to Indian South African heritage, be it aspects derived through South African Indian history or elements such as religion and language which have been preserved from India. It also allows for reinterpretation by people of other identities. In doing so the building aspires to establishing a connection with the past, but only in aiding the pursuit of a natural evolution in architecture. A building that is not a radical break with or outright return to denI tity and Culture c tin Ar hi ecture 138 C p er: 10ha t Section: 10.1/2 the past. The proposed solution should also evolve as a consequence of human movement, climate, appropriate technology, local materials that all result in the creation of stimulating and though provoking architecture. The site, at the edge of the sea, represents a symbolic place where the local once met the foreign, the point of arrival of the Indian People in South Africa. As such it too is a transitional space between diverse elements. Therefore the site too is pivotal in the creation of hybrid architecture in that it too makes reference to regionalism and globalisation, past and present, local and foreign, natural and built, city and sea, pedestrian and vehicle. In responding to these elements the architecture may allow the building to become an impression within the mosaic that is Durban's colourful and vibrant landscape. denI tity and Culture c tin Ar hi ecture 139 C p er: 10ha t ec ion: 10. S t 2 sketch 1 sketch 4 sketch 2 sketch 5 sketch 3 sketch 6 denI tity and Culture c tin Ar hi ecture 140 C p er: 10ha t ec ion: 10. S t 3 10.3) Initial Footprint Studies ?Good architects have always had their sources, no doubt, but instead of owning up to them, they have often talked pseudoscience about the building as the inevitable expression of its program. Programs, sites, and budgets don't design buildings, though. Architects do, and as anyone who has ever tried it knows in his or her heart, you can't derive architectural form from any amount of analyses of context or program or anything else. There has to be an arbitrary formal gesture at some point or the design process can never begin.? Robert Campbell (Cited Ellis, 1989) denI tity and Culture c tin Ar hi ecture 141 C p er: 10ha t ec ion: 10. S t 4 10.4) Proposal for 1st Design Jury within the scheme. ( to be read in conjunction with pg 142) The position of the library in effect cuts off the link between the main courtyard to the waterfront and is also hidden away. The building fails to This design marks the first attempt at generating a design for the South make reference to the theoretical dialogue or to the concepts of pluralism African Indian Institute of Trade and Cultural Relations. The design begins and hybrid architecture. It also does not make sufficient reference to Indian to make references to the use of courtyards as elements that order spaces or South African Architecture. used for different activities. However the courtyards are seen as leftover spaces as opposed to elements that are designed to facilitate movement The design though unsuccessful, was a useful exercise in that it allowed and interaction within the buildings around them. The courtyards should one to gain an understanding of the size of the proposed building (in also be made more prominent within the design. The size and shape of relation to the site) and the opportunities that the site offers in assisting to these spaces along with the sky courts are too small and leads to the successfully accommodate the proposed function. building overwhelming them. The courtyards may also be dark spaces due to their size and are don't successfully celebrate the use of the outdoors which is necessary within the Durban climate. The retail colonnade though correct in its positioning adjacent to the adjacent festival space, does not successfully act as an axis or route from the street edge to the water. The positioning of the tower to landmark the culmination of the retail colonnade and the waterfront is also justifiable. It should not however act as a terminating point and should allow for the flow of the retail colonnade to terminate on the water's edge. The trade center makes no reference to the continued axis along the southern boundary of the site. The opportunity of this as a route to the waterfront in similar fashion to the retail colonnade is not optimized. The trade center as such is a closed box, and does not respond to the need to be open, transparent and legible therefore making it an ominous presence Sky Court Entrance Foyer P o in t R o a d W te rf o n t W a lk w a a r y o A d ac n ublic S uare T j e t P q A is Th ro gh re to a erfro t x / o u fa w t n Central Courtyard Trade Center Sky Court Public Library Tower Restaurant Coffee Shop Heritage Exhibit Retail Colonade N denI tity and Culture c tin Ar hi ecture 142 Proposal for 1st Design Jury Ground Floor Plan N.T.S m m m f f f C p er: 10ha t ec ion: 10. S t 4 sketch 1 sketch 4 sketch 2 sketch 5 sketch 3 sketch 6 10.5) Subsequent Footprint Studies denI tity and Culture c tin Ar hi ecture 143 C p er: 10ha t ec ion: 10. S t 5 Following the first design attempt, a second footprint study was carried out. It attempted to further investigate how the building may begin to relate to the opportunities presented by the sites surrounding context. An effort was also made to gain an understanding as to how the courtyards may be used to integrate the different activities occurring on the site. It was also seen as an investigation into how a series of smaller courtyards within the individual buildings may begin to order the internal spaces and how the courtyards may become spaces that are beneficial to the activity occurring within the building themselves. The building forms also began to consider how the orientation may make use of the maritime breezes (NE & SW). This was attempted by creating longer east to west building strips that would also allow for the use of natural light within the buildings. W te rf o t W a l w a a r n k y To A djacent P ublic S quare A is Th ro gh re to a erfro t x / o u fa w t n R P o in t o a d denI tity and Culture c tin Ar hi ecture 144 C p er: 10ha t ec ion: 10. S t 6 Ground Floor Plan N.T.S N 10.6) Subsequent Design Devlopment The above design begins to order the different activities around the central courtyard. This allows the courtyard itself to become a route and an axis from the entrance foyer to the waterfront. Though the site does not allow for activity to spill over into the bay (due to passing ships etc), the use of a water feature attempted to make reference to the water's edge by blurring the lines between the site and the water. The retail strip also begins to act as an axis from the road edge to the water. The trade centre also begins to make reference to the adjacent thoroughfare. Though the use of a secondary courtyard and attempted reference to the thoroughfare needs to be clearly defined. The courtyard and the external reference should be seen as two different elements performing two different functions. The building also attempted to link the activities of the museum and the trade center. This however was deemed inappropriate due to the different functions. The primary courtyard was suggested as a more appropriate visual link between the two centers of activity. water bridges overhead 10.7) Proposal for Second Design Jury open to interpretation by the user. It was suggested however that the to be read in conjuction with drawings on pg. 150, 151, 152 central courtyard is still too small and narrow within the scheme. The design, process thus far has been driven by the need for the building to ?The secondary axis is further developed (as seen in traditional Indian respond to its context, in terms of massing as well as the positioning of the architecture pg 81, 88 ) This axis begins at the edge of the adjacent public various functions. It was also at this point that the theoretical discourse had square and acts as a linkage tool to the centre of the main courtyard, which developed sufficiently such that it could begin to influence the design in being a formal space begins to incorporate concepts derived from the process. The building begins to make reference to planning principles Indian Garden (Pg 100). The axis is extended past the centre (the identified through the analysis of Indian and Indian South African intersection of two axis pg 81, 88) and terminates with the entrance to the Architecture. community centre. The use of Courtyards, Axis, Sense of Center, and the beginning of the ?The trade centre is further resolved with an adaptation of the courtyard South African Indian Garden: typology. The role of the courtyard is defined as an external exhibition space for the trade exhibit area. The coffee shop and foyer to the ?The courtyard as a typology has already been incorporated in earlier conference center situated below ground (under the courtyard) also open attempts. This design however begins to formalise these spaces. The out into the internal courtyard. The corner of point road and the central courtyard is clearly defined and is successful in its application as an thoroughfare adjacent to the site is marked with a strip of showrooms with a axis or journey from the road to the water's edge. The courtyard at this mezzanine level above for offices. These spaces will be rented out by stage begins to draw references to that of the Indian Garden. The buildings independent agencies that offer services to the trade centre (as per the as seen from within the courtyard are seen as a metaphor for the tombs accommodation schedule pg.12). The showrooms also act as a showcase that sit within the traditional Indian Garden (e.g. Taj Mahal pg 100). for the trade centre, thus making the public aware of the opportunities However in placing the built fabric off axis, the garden is still seen as a available. journey to the water's edge and a brief return to the past. The buildings themselves are not the primary focus within the confines of the primary ?A similar attempt of the use of courtyards was carried out within the courtyard. Emphasis is rather place on framing the view of the waterfront journey through the museum. This was done by allowing for the courtyards and bluff with its natural green landscape beyond. This allows the building to become external exhibitions which one would be guided through as part to become anti monumental, in doing so it begins to create spaces that are of the circulation route of the museum. This concept was deemed to be denI tity and Culture c tin Ar hi ecture 145 C p er: 10ha t ec ion: 10. S t 7 appropriate in principal as it contributes to the spatial experience of the however was the addition of an informal market at the end of the retail axis. journey through the museum. However it failed in its application in that the It is also the point at which the retail strip, the public square, the waterfront courtyard spaces were deemed too small and insignificant within the walkway and the museum journey culminate. confines of the museum. The journey through the museum: ?The community center in previous designs was submerged within the building by attempts to link it to first, the museum and then the trade center. The Symbolic Tower: Through this process it was realised that the community center also plays a role within the scheme and should be treated as an entity on its own. This The role of the tower as part of the museum is further refined. It along with led to its placement along the thoroughfare. The library is placed at this the internal courtyards of the museum have become elements that are part junction which is seen as an extension of the retail strip of the trade center of the journey through the museum. in that it too due to its positioning will lead to a greater awareness of its presence. It also allows the library to be exposed to south light which in The route through the museum draws being indirect and of an ambient nature is ideal for the proposed function. reference to the Indian Temple in that The north facing elements comprise of classrooms and dance studios, it too takes one through a series of activities that are also appropriate in that they may allow for a visual link horizontal layers on an east to west with the primary courtyard and the public walkway adjacent to the axis that culminates within a tower. waterfront. The east to west journey as experienced within a temple is ?The retail strip adjacent to the public square makes reference to the reinterpreted within the museum as Madressa Arcade (pg. 113) in recreating a intimated bazaar like an unfolding series of events of context, meaning and memory that is a atmosphere. It makes use of a double layer of retail that overlooks a gradual progression from the past that culminates in the present thereby common walkway. This however did not work in the context of the design in allowing the individual to draw their own conclusions as to the way forward that the retail strip overlooks or needs to makes reference to an adjacent (future). The journey through the museum is seen as a progression from space (the public square). The Grey Street typology was seen as a better the street edge to the waterfront. The museum is defined by a series of reference as it has developed through an interaction with the open events which mediates between east and west, nature and the city, road walkway and street beyond (pg.111). A successful addition to the retail strip and the water; past and present. denI tity and Culture c tin Ar hi ecture 146 Section of a traditional Indian Temple with East to West Axis culminating with a tower C p er: 10ha t ec ion: 10. S t 7 The museum is expressed as a horizontal and vertical layering of space. complimented through the use of The journey begins at the road and one is then led into the very earth. The interactive models of the city on each journey then gradually proceeds upwards through a series of horizontal floor at that point in time. layers which is then terminated by a vertical procession within the tower that terminates the journey. The sequence through the tower in depicting the history of the point area will The tower form is also depict the arrival of Indians and their thus symbolic of humble beginnings within the area. Over Mount Meru (pg. time it also depicts their movement out of the point area into the city 1 0 7 ) . I t a l s o beyond. In doing so it depicts the literal progression over time of the Indian makes reference people as they adapted to their new country and became a part of it. The to the vertical top floor and final display area allows one a view out into the area without a elements within sandblasted inscription. One is presented with a view of the city and the the surrounding context. The upper floors of the tower are used as point area as people of different cultures mingle and interact within the exhibition spaces. The point area marks the arrival of Indians in Durban waterfront area. and is also the birthplace of the city itself. The tower exhibits are a documentation of the point history. This is done over a series of levels, The tower therefore is an architectural element that allows for the exhibits starting at the third floor as a view of the area is afforded. to depict a story but at the same time affords reinterpretations by different viewers. The final viewing platform is also the culmination of the journey This point on the second floor marks the end of the journey through the through the museum and as such is the final statement that the museum east to west axis. The movement then begins to climb through a vertical intends to make. As these final thoughts linger on within the visitor, they are axis. Views are afforded on each floor but through windows with a allowed to descend back to the ground floor and exit the museum into the sandblasted depiction of the point area at a certain time. In doing so, as coffee and museum shop that opens out onto the waterfront walkway. one moves up through the tower, one is afforded a view of the point at a different time in its history. One is also allowed to make comparison of the point area in its current state as viewed through the window to that as depicted within the sandblasted image. This comparison may be further denI tity and Culture c tin Ar hi ecture 147 signal station navigation (authors own) millenium tower (authors own) cranes (authors own) of the port. city exhibition space sydney: the model of the city (Rambhoros, 2004: 98) C p er: 10ha t ec ion: 10. S t 7 The Indian Kund (Traditional Indian Water Storage): thus situated directly above the axis from the adjacent public Water in India is regarded as square to the community sacred in that it is the giver of life. center. This also provides an The traditional water storage opportunity to allow glimpses section (pg.96 ) device therefore into the museum through the is designed to store water (a use of light shafts above. This is precious and sacred material) at ideal in that it will make people its centre. Doshi as we have seen aware of the museum as they journey from the public square into the South has used this as a generator for African Indian Garden or Community Center above. the courtyards in the design of the National Institute of Fashion in New Delhi. The underground exhibition is also well positioned within the museum experience in that one must go through a courtyard before and after the These water storage devices are well used in India but within the South relatively darker and smaller archive space. This reference is derived from African context it has been suggested that due to the fact that water is the analysis of museums such as the Jewish Museum where the abundant, it was not used. The building therefore makes reference to this architecture alone is a play on the senses of the viewer. This notion is also traditional structure as a tribute to its memory as a part of an Indian past, illustrated within the Apartheid museum where one is allowed a view of which within a South African context has been long forgotten. It is Johannesburg before being thrust into the depths of the museum. It is also readapted as part of the museum journey but is still conceptually a storage a reference to the concept that our interpretations are a sum of our past device of a precious object. experiences. As such the archive is all the more striking considering the courtyard before it. And it will also lead to the user appreciating the The form of the tank is readapted to allow parts of the museum to be courtyard that they enter into after the archives. submerged within the ground. This area of the museum will be used to store precious artifacts and objects of cultural significance to the Indian The archive is seen as symbolic of the past, and it is befitting that it is South African. In submerging the space, the archive storage is located derived from an architectural device that has been long forgotten by the within a cooler area. This also allows for the artifacts to be on display. The South African Indian. In doing so it allows the viewer to experience a space use of an underground space also allows for the linkage of the two forms of (and an aspect of their heritage) that they never would unless they go to the museum building which are separated above ground. The archive is India. The location of the archives is thus symbolic of the past as a denI tity and Culture c tin Ar hi ecture 148 Traditional Indian Kund Section depicting a) archive in relation to b) courtyards and c) bridges that are open to sky and act as gateways. (to be discussed) A CB B C p er: 10ha t ec ion: 10. S t 7 foundation for the to sky spaces enhance the architecture and marks the essence of the p r e s e n t a n d journey by interweaving parallel worlds of the past and the present. The future. In being overwhelming presence of the tower on the skyline is symbolic of the future situated at the root and allows one glimpses as to where the route through the museum may of the building it is be taking them. a metaphor of a stable foundation As one makes their way through the exterior spaces, the tower acts as a of the evolving yardstick and a constant reference on the skyline. As one gets closer the e x h i b i t i o n s tower becomes a metaphor of a tree beneath the sunlit sky. This is a above. The archives sense of rootedness is further reference to the Indian symbol of enlightenment, a guru (teacher) sitting conveyed through the reduced natural lighting under the tree with his pupils. This symbol is also open to interpretation as which in turn enhances one's sensual experience of we have seen in the analysis of the Constitutional Court, which also alludes the space. Therefore is also appropriate within the context of the museum to the tree being an African symbol of knowledge. due to the fact that it allows for a richer experience. The bridges in being placed directly above the public square to community The Bridge: centre axis also allows one a view and changing perspectives to both the public square but also the South African Indian garden. Bridges have also The underground archives serve as a linkage element on the ground floor been used within traditional Indian architecture as gateways and ordering of the museum. The use of bridges (as seen in section on previous page) devices between different spaces (pg. 96). The positioning of the bridges on the upper floors also acts as linkage elements between the two blocks. makes reference to this in that they act as gateways in the journey along Insert section showing bridges. It is also a reference to the use of bridges the axis from the public square to the garden or community centre. within traditional Indian architecture where they were used as ordering systems between spaces of different activity (pg. 96). The bridges and the This proposal begins to articulate the spaces through reference to the courtyards combine to provide users with constant sources of reference to theoretical discoure. At the same time however, it does not begin to refer to the outside. The bridges and the courtyards are therefore symbolic links the overall form of the building or its materiality. These aspects will be between the outside and inside. It imparts upon the user an awareness of devloped within the next chapter that focuses on the technical and time and change as one travels through the museum. One is alerted to the environmental performance of the building. These aspects will also be ever changing effects of air, light, water according to seasonal variations driven by an understanding derived through the theoretical discourse. and through the hours of the day. They are also symbolic in that these open denI tity and Culture c tin Ar hi ecture 149 neanderthal museum- the hourglass introduces concepts of time, multimedia presentations and subtle lighting artificially light the space (www.neanderthal.de) the shrine of remembrance- war memorial with a wall of medals in the entry arcade, and the hall of columns opens an approach to the crypt, dramatised by brick, concrete and artificial light (benjamin 2003:52) C p er: 10ha t ec ion: 10. S t 7 denI tity and Culture c tin Ar hi ecture 150 Proposal for 2nd Design Jury Internal Courtyard Primary Courtyard Internal Courtyard Entrance Foyer Entrance to Conference Facilties Below Cofee Shop P in R o a d o t k w a te rf ro n t W a l a y W o d c ubli S ar T A ja ent P c qu e A h o h t a e xis/ T or ug fare o w t rfront Showrooms and Offices Above Community Centre with Public Library Trade Center with internal courtyard Tower Restaurant Informal Market Museum Retail Colonade N Ground Floor Plan N.T.S C p er: 10ha t ec ion: 10. S t 7 denI tity and Culture c tin Ar hi ecture 151 West Elevation overlooking Point Road - NTS Section A-A - NTS Retail Museum Courtyard CourtyardPublic Square Entrance Foyer Trade Center Thoroughfare C p er: 10ha t ec ion: 10. S t 7 denI tity and Culture c tin Ar hi ecture 152 North Elevation (overlooking public square) - NTS Section B-B - NTS Road Pavment Museum MuseumCourtyard CourtyardAxis from Public Square under bridges Museum Tower Waterfront Walkway C p er: 10ha t ec ion: 10. S t 7 primary structure (face brick) lightweight structure e l r taic na olon de museum 10.8) Subsequent Design Development Internal Courtyard Primary Courtyard Entrance Foyer Entrance to Conference Facilties Below Cofee Shop P n R o a d o i t W a t n t l e rf ro W a k w a y ubl To A djacent P ic S quare / ough t er Axis Thor fare o wat front Showrooms and Offices Above Community Center with Public Library Trade Center with internal courtyard Tower Restaurant Informal Ma ketr Museum Retail Colonnade N Ground Floor Plan N.T.S denI tity and Culture c tin Ar hi ecture 153 C p er: 10ha t ec ion: 10. S t 8 Grey Street Typology Section Residential Retaill Section A-A Courtyard Basement primary structure primary structure li g h tw e ig h t s tr u c tu re retail colonnade Retaill Courtyard Natal Verandah House Lightweight Strucutre Primary Strucutre Lightweight Strucutre A A The building makes reference to the Grey Street Typology (pg.111) and the natal verandah house (pg. 118) in the design of the museum and the retail colonnade. Like the Grey Street section, the design uses retail at the base with the museum overhead, forming the colonnade. The museum may be seen as a metaphor of the residential component of the Indian People in the Grey Street area. Like the Soane Museum (pg. 43) it may be seen as a conversion of the house (metaphor for the everyday) into the museum. The reference to the Natal Verandah House allows for the building to become environmentally responsive in that it too is now made up of a lightweight structure to afford protection from the sun to the primary structure. It is also a reference to the evolution of the Temples and Mosques within South Africa and therefore South African Indians as South Africans as well. (Pg. 106) The Primary structure will make use of face brick, which evokes memories of the red sandstone (pg. 98) structures in India, but it is also a material that is appropriate for use within the maritime climate and responds to other buildings within the area which make extensive use of brick. Brick is also a material that is prominently used in India today, as Rodney Harber puts it, ?they haven?t sold a pint of paint since the British left in ?48.? (Marschall, 2000:133) The lightweight structure will be used on the North and west facing facades where it is necessary for protection from the sun. In doing so it allows the building a transparent and legible imagery from Point Road but also the adjacent public square. The south side will be free of the lightweight structure due to the indirect sunlight received. In doing so it allows the red brick and primary structure to be celebrated. In doing so this is a reference to the sandstone tombs which sit majestically within the Indian Garden. The museum therefore as viewed from the South African Indian garden evokes a similar imagery. The combination of these elements and materials is therefore in keeping with the concepts of time, change, and past, present, future. The internal courtyards of the museum have been redefined with reference to Indian attitudes to proportion and order (pg. 82); in doing so the courtyards have become an integral aspect of the museum and begin to become appropriate in terms of size. retail colonnade Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relation Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural A R NM N LTE IC E ICHN L NV E A& O T PRE ORT C H A P T E R 1 1 1 45 denI t ti y a nd Cu tul c tin Ar hi ectu er 11) Technical & Environmental Report the scheme with influence and reflection on the climatic context. The characteristics of 11.1) Introduction: the buildings immediate environment must serve as a platform through which the Stemming from the preceding research and theoretical discourse, it may selected materials may convey an be deduced that the architectural expression of the proposed building, as expressive language that allows it to also seen within the design report, draws its theoretical framework from several participate in a global discourse. The sources. In using the concepts of dual symbolism and pluralism the planning and form of the buildings has building may allow for interaction and reinterpretation by people of differing been conceptualised through a process of cultures and identities. layering of the Indian South African history, drawing influences from a heritage in India The South African Indian Institute is based on the ideals of space being a but also paying tribute to a South African tool of connection and interaction between people of different identities. History. The museum aims to create a space where people may interact with the architecture. The architecture must also create an adequate space for the This layering of meaning and experience exhibitions within them. A similar analogy may be drawn for the trade must be communicated through layering of centre and the community centre where people may learn from each other these aspects on a material level as well. In through interaction facilitated by the use of that common space and their doing so the building through its strong interpretation of that experience. Be it a museum exhibit, a trade seminar material reference is allowed to aspire to or even a dance class. This is highly dependent on the successful the notions of localization, but also to the application of what is termed the tectonic and tactile qualities of the built memory of an Indian architecture of fabric. symbolic value. This process allows one to avoid a local kitsch interpretation of Indian The articulation of the building needs to draw from a similar wide range of architecture in a South African context. references however it must be done through a process that ensures the It is due to this that an appropriate technical realisation of the building is driven by relevance to its unique generator of the architectural articulation is context. This section therefore aims to reinforce the conceptual ideals of one derived from a tectonic and tactile (Fabbrizzi,2002: 200) (Jackson,2000:72) (Jackson,2000:74) Layering of expression through forms and materials. denI tity and Cu ult re c ti n Ar hi ecture 155 p r 11Cha te : i :Sect on 11.1 denI tity and Cu ult re c ti n Ar hi ecture construction informed by its context. journey within a space through which one is allowed to interact and learn be it the museum or the trade centre. As such it is a place of Le Cuyer states that tectonics is based on the ideal of creating, inventing communication, the building therefore needs to adapt and change over and building with strong emphasis on the physical environment. The tactile time and communicate changing ideals in reflection of changing identities aspect is closely linked to the ideals of tectonics. Tactile however refers to and changing environments. the interaction of cultures, nature, light, climate, crafts and materials. It is however linked and concerned with ?textures, meeting of materials, and As the South African Indian has become more South African the building tends to be rich for the senses.? (Day 1990: 28) The tactile and tectonic also through its materiality impart an awareness of time through the use of application in the technical realisation of the building is therefore based on materials that weather and change through its life cycle (e.g. concrete and and allows the individual to read and interpret the environment through steel.) The sense of the building growing and changing may also be experience and engagement of the building within its context. The Indian expressed through the use of materials that need renewal (e.g. Lathes, Institute may then become ?a place conscious poetic.? (Frampton, bamboo etc. allowing the application of materials that may be implemented 2002:87) through the interaction of South African/ Indian Craft traditions.) With the inclusion of public participation in the inception, through to construction The application and fusion of various materials characterised by colour and maintenance (past, present & future), the building itself is able to and texture, relevant to context by way of scale, warmth, light and shade connect various locations peoples and identities. The building may also by may begin a play on the thoughts and senses of the user within the space. doing this, encourage the use of local manufacturers and contractors. In engaging and interacting with the individual's senses the space itself may begin to enhance the individual's experience at the same time The use of elements that allows for their distinctive qualities to be contributing to the sense of place. portrayed within a combination of components and textured surface alludes to the Indian identity as part of the diversity and multiplicity that is The technical and indeed environmental attainment of the building should the broader Durban context. In doing so the structure becomes a layered thus be reflective of the buildings need to become a place of information mosaic that physically and metaphorically evokes notions of the layers of and expression of South African Indian identity and a celebration of the culture and history that is the expression of identity. The range of materials buildings context. used may also add to the rhythm created in the use of layering e.g. the use of screens, gradation of solid and transparent, light weight and heavy The design of the building is driven by the movement of people through a structures, timber and steel etc. 156 p r 11Cha te : i :Sect on 11.1 11.2) Micro Planning: different directions which and s in keeping with the concept of change and growth as it creates an awareness of time and movement within the user of The chosen site context and location has led to the form of the building with the space. a NNE to SSW site orientation. This orientation is successful in that it offers the building maximum interaction with the adjacent public space and on the opposite side, it offers for opportunities along the extended axis that the site is adjacent to. Orientation to a North Easterly direction is believed to be the best orientation for a building in Durban. Orientating as great a percentage of the buildings towards North east allows for the control of light entering the space by way of louvers and solar screens. The controlled light into the space on the northern facade allows for ambient internal areas of the building without the space being overheated. The south facades of the building is also allowed a greater amount of fenestration without the risk of overheating due to the sun being at an angle of 84? in summer and a minimum of 37? in the winter months. The use of courtyards and the overall form of the building also allows it to have decreased north to south depths and a longer east to west axis. This allows for greater penetration of light and cross ventilation. In doing so this sets up habitable indoor and outdoor spaces that maximize Durban's sub tropical climate. The optimised use of the prevailing conditions is taken further with the lightly massed north side and the heavily massed south side. The tower element is positioned with due consideration to the east, in light of the need to landmark the intersection between the adjacent public space the walkway along the water's edge and the termination of the museum journey. With the movement of the sun the tower will cast shadows in denI tity and Cu ult re c ti n Ar hi ecture 157 p r 11Cha te : i :Sect on 11.2 11.3) Construction Methods and Assembly Techniques The building also makes use of visually lightened elements (e.g. the steel Structural System: structure). These structures are fixed to the primary concrete framed structure and do not carry any of the primary structural loads. The The primary structure is to be of a reinforced steelwork due to the harsh conditions near the sea will comprise of mostly concrete beam and column grid system to be stainless steel. The steel may be prevented from corroding by ensuring constructed on site. The columns will be that all welded joints are continuous fillet seal welds. One must also ensure supported using a pile foundation to a structural that all welding must be carried out before zinc galvanizing is done to engineer's specification. The first level is then ensure the steel is sufficiently protected. As such welding is preferably kept cast on beams that span across the column grid. to a minimum on site. The steel is then assembled using a nut and bolt The concrete bean and column system sits on a construction on site. After construction a double layer of epoxy primer may 7.5m x 5m and 7.5 x 7,5m grids. This procedure be applied. This process will ensure the steel does not rust. Should a need is continued for the upper floors. The use of a for further protection be necessary, the steel may be electro ionized. (A concrete skeletal structure allows for flexibility and long spans and process used in the manufacture of vehicles to prevent rusting) requires little maintenance. The Primary structure is then filled in using brick infill and other forms of cladding (to be discussed). The reinforced concrete used for the primary structure will need to be cast with meticulous supervision. Mistakes such as reinforcing steel coming into contact with each other or being cast too close to the surface will begin to rust. This will be accentuated by the high salt content in the air and will inevitably lead to spalling. Tanking of the basement may be achieved by admixture to the cement in order to waterproof the structure. This will accommodate for increased hydrostatic pressure in the event of the water level rising. Additional subsoil drainage and sumps will be used as specified by a geotechnical engineer. concrete as main structural system denI tity and Cu ult re c ti n Ar hi ecture 158 p r 11Cha te : i :Sect on 11.3 Flooring System: one is led through the courtyard and back inside.) They may be used to mark a recommended path through the trade centre and the museum. The reinforced concrete slabs will form Other external areas of the building (e.g. the Indian garden) will make use the main flooring of the building with of pavers and cobbles. appropriate floor finishes to suit the required function. A combination of hard and soft floor finishes may be used which will contribute to the overall feel needed within the various spaces. The finishes will range between concrete screed, oxide-tinted screed, metal sheeting/ tread plates, sandstone tiles, timber and railway sleepers. (Railway sleepers may be used to evoke imagery of Indian indentured labourers working on the railways. It is also worth mentioning that in depicting Indians doing this; it will also touch on the 'other' whose forefathers also went through this experience. In doing so a common ground is established between people who would never have seen this shared history before.) Floor finishes may also be used for blurring the lines between inside and outside space in certain areas (e.g. as one moves through the circulation spine of the museum or the trade center tinted screed (source: author) tread plate (source: author) timber (source: author) denI tity and Cu ult re c ti n Ar hi ecture 159 p r 11Cha te : i :Sect on 11.3 Walls & Cladding: Due to the structural systems proposed, the walls would be non- load bearing. Therefore they may be used as infill or even freestanding elements. A range of finishes and textures are to be used including pigmented concrete, bare/ exposed brick, plastered/ painted brick, gabion walls and lightweight materials such as drywalling, corrugated sheeting (as used in the barracks), glazing, lathes, battens, grating and oxidized in that all cultures and identities will change over time irrespective of how steel. we may try to stop it. We may however preserve its memory, celebrate the change, and learn from it. The use of oxidized steel also means that the An example of self oxidizing steel is Corten Steel. It is an example of a building is seen to be continually changing. The waterfront is seen as a texture that may be used as an abstract symbol. Oxidizing steel is weather place where people will return time and time again, and in doing so they resistant in that it forms a protective layer on its surface and is initially a light may also notice a different image of the building. The steel is also used in rust colour. It is this layer that prevents further rusting of the steel and the construction of ships and therefore the use of the material may also be continually matures over a number of years. Over time it will eventually interpreted as a reference to the maritime environment of the building. It reach its maturity when it is a dark brown colour. may also be seen as a reference to the sea, and the arrival of Indians to this land so long ago. As the building aims to preserve their memory and The continuously evolving steel is therefore symbolic of change and document their lives for future generations, this material may be seen as a growth over time. Change is after all the only constant, and this is symbolic symbolic reference of returning to the ocean. Albeit, if only for a brief while and to remember. Glazing may be used through etching and sandblasting in specific areas to afford different levels of transparency. It is also intended to be used as an information overlay on viewing windows (e.g. within the tower) Stone may also be used as a material of symbolic value. Stone is used in both African and Indian vernacular buildings. As such the use of it within Melrose Arch: glass & steel. (author own) perforated oxidised steel as cladding (Asensio 2000:493) wits residence: applied texture onto plastered masonry (authors own) stonework (source: author) course exposed brickwork (source: author) gabion walls (source: author) denI tity and Cu ult re c ti n Ar hi ecture 160 p r 11Cha te : i :Sect on 11.3 this building may be relevant within a section that celebrates the South Roofing System: African Indian as an Indian but also just as importantly, a South African. The use of traditional building methods of stonewall construction is also The intended system is comprised of a lightweight relevant in that it may be used to initiate societal participation and structure that is easy to assemble and is also involvement in the building. versatile in its application. The system makes use of steel I beams and profile sheeting. The sheeting will This variation as a theme throughout the building creates tactile surfaces have a matt silver finish which due to its light tone will and textures. In doing so it sets up systems of rhythms or layering. In doing reflect radiation from the sun thereby reducing heat so the very fabric of the building, the walls and cladding, its materiality may absorption into the building. Transparent sheeting become canvasses for expressions and information. They may also be may also be used in certain areas where additional used literally, where the solid walls may be used as planes of display while light is needed or where reference to the sky is the lightweight walls such as dry walling may be used for clip on displays of intended (e.g. the bridges that form part of the information. museum route, will be covered for protection from the elements, but the use of transparent sheeting will still maintain a connection to the outside.) Timber slats may also be layered over the poly carbonate sheeting. Steel grids that allow for light to enter through the use of polycarbonate sheeting are also intended to be used. steelwork & roofing (Rambhoros, 2004: 108) polycarbonate lathes and polycarbonate roofing (authors own) layered roof of battens, polycarbonate sheeting, steel grating, steelwork & planting (Rambhoros, 2004: 108) denI tity and Cu ult re c ti n Ar hi ecture 161 p r 11Cha te : i :Sect on 11.3 Fenestration: Detailing for Adaptability: Standard steel frame windows and The nature of the proposed buildings as places of display and interaction doors are to be used as the primary may be enhanced through the use of elements that allow for varying spatial selection of fenestration. The different and experiential qualities within the building. In allowing for this the configurations will be selected displays themselves take on new meanings and may be constantly depending on the need for varying changed over time. degrees of transparency ranging from totally solid to transparent. Feature Within the exhibitions (museums and trade timber doors will also be used as solid centre), movable display surfaces will be elements. In general windows and used in the form of grated cage like doors that fold and slide will be used to add to the permeability and structures interwoven with light elements adaptability of the space. These will also allow the building to be perceived such as laths and bamboo. This will not only as constantly changing from the outside as windows are opened to allow allow for permeability but will allow for for cross ventilation. The selected fenestration is done so on the basis that displays to be added and removed through it allows for varying degrees of transparency and privacy. They may also be the use of clip on panels and elements. These elements may be custom used as transitional zones between different display areas within the made to slide along suspended tracks fixed to the ceilings or slab soffits. museum and the trade centre. This concept may be taken further through the use of pivots set on a horizontal and vertical access. Panels may then be shared between two adjacent spaces or in their horizontal form, become tables that act as horizontal display cases. This system may also allow for entire displays to be moved into the courtyards allowing for a dynamic interaction between the outside and inside spaces. Sliding walls from inside to outside may also be used to extend exhibits externally but also in guiding viewers along a prescribed route in and out of the building. Open plan typologies contribute to greater flexibility in environments such wits: industrial type windows and timber doors (source: author) cage walls for exhibitions denI tity and Cu ult re c ti n Ar hi ecture 162 p r 11Cha te : i :Sect on 11.3 Shading Devices: The proposed shading devices will be composed using a variety of woven wattle lathes, grasses and bamboo that cast interesting patterns, through a play of light and shadow, on the building. The application of shading devices will make use of static and adaptable variations. The static ones will be used in areas where it is necessary throughout the year (e.g. extended overhangs on north facing facades). The flexible variation will as exhibition spaces. They allow for a variety of different configurations make use of folding, sliding and retractable devices that allow for individual within a standard space through the use of lightweight removable panels users to set their own comfort levels (e.g. offices in trade centre). This also that are flexible. Sliding and pivot panels may also be used to provide contributes to the changing and flexible nature of the facades. In their additional exhibitions spaces as and when the need arises or in response construction and maintenance they allow for societal participation. The to the need to extend exhibits into the courtyards. They may be used very construction of the woven mats will be done using a hybridized during specific functions and events where corporate advertising and version of Indian and African traditional methods of fence making and event specific information would be necessary. basket weaving. As these elements will need replacing over time, they allow for a continued participation and for changing variations of These lightweight structures may also be used for the insertion of expression of the people that make them. The same principle is also interactive displays within specifically relevant spaces. Interactive devices applied to other non structural devices such as balustrade which will may include projector screens, 2 way interactive screens; clip on billboards include variations of woven wattle and bamboo lathes. In areas where with electronic media and LCD screens that add to the public awareness access is an issue (e.g. tower) other types of shading including perforated and responsiveness to the displays. oxidized steel grilles and sheets, steel louvers and grills will be used. sliding and pivot doors (Levene 1996:205) pivot wall between outdoor & indoor space (Levene 1996:193) lathe screens for clip on- off exhibition (DIGEST 2003:16) sliding screens for flexible inside/outside space (source: rambhoros) lathe shading for patterned light (DIGEST 2000) grass ?mats? as renewable shading device (authors own) fine oxidised steel mesh as shading device that changes with time (Schittich 2001:75) denI tity and Cu ult re c ti n Ar hi ecture 163 p r 11Cha te : i :Sect on 11.3 11.4) Articulation of the Streetscape: surrounding the building but also within the courtyards and within the Indian Garden. It is through this process that the building may begin to The chosen site offers opportunities for interaction between people and the become part of the South African landscape. The Indian garden may be building on all four of its external facades. This interaction is taken even used as an example of this transformation. It will be designed in further with the use of the Indian garden at the heart of the scheme. accordance with the principles of a traditional Indian garden as discussed The use of the streetscape is also in keeping with the point developments in the chapter six. But through the use of indigenous flora, local artists and intended use of various pavement and road textures to differentiate craftsman the elements within the garden may start to take on ideals that between pedestrian and vehicular zones. Texture, colour and pattern may are unique to the South African landscape. be used to enhance and contribute to a more legible urban context. This analogy may be transferred back into architecture of the building Streetscape elements act as sculptural urban elements that are itself. This will be done through the use of Sculptural screens. Sculptural extensions of the building into the surrounding fabric. The use of screens are elements that are constructed out of metal scrap. In doing so it streetscape elements and sculpture may be complimented by not only makes reference to the industrial aspect of the port but it also environmental art, innovative street furniture such as seating, lighting, creates opportunities where people may become involved within the bollards and signage. These elements will also enhance and stimulate the construction of the building. The screens themselves may be derived environment thus making it more pleasant and inviting for the user. In doing through the study of the narrative within the building. Through its so the building may begin to merge with its surrounding context and vice reinterpretation by local artists it becomes a form of hybrid Indo African art. versa. It may in this scenario, be used to celebrate the fusion of an Indo- These screens may be used as fenestration or sun control devises. In African inspired streetscape that contributes to the character of the doing so they may be reflected upon from the outside and therefore allows precinct. one brief glimpses into the narrative of the displays inside. The etched panels and metalwork will also cast shadows within the building onto the These sculptural elements will be used within the outdoor space rich variety of textures thus creating a unique play of light on the inside. sydney olympic stadium: water sculptures wall, bench, path, lighting, seating, tables, urban marker (Bell 1996) ?tree? installation in sydney sculpture walk (Jackson 2000:64) sydney: memorial sculpture (Jackson, 2000:64) glass beads reflect the light as mosaics of memory (DIGEST 2004:28) newtown: crafted ?heads? of bollards add to character of the precinct (authors own) denI tity and Cu ult re c ti n Ar hi ecture 164 p r 11Cha te : i :Sect on 11.4 The sculptural display to the greater public so that it may be appreciated and inspired by. screens may be done by artists that The use of sculptural screens is seen as graphic elements that may also are commissioned to contribute to the proposed sculptural elements as part of the proposed work with locals to public streetscape. They may also be used as elements within produce elements contemporary architecture in areas as canvasses of expression such as that are expressive advertisement boards, event information boards etc. of context. (See Appendix E) This process is in a similar vein to the functions of the trade The author envisages a scenario where all the buildings within the centre. It may begin to encourage collaborations between local designers, proposed cultural precinct apply a similar philosophy to its surrounding institutions, artists and architects but it will also serve as a platform for context. In doing so the area itself becomes a unique blend of different interaction between South African artist and craft workers with their stimulating elements that contributes to the identity of the area as a cultural counterparts in India. This sets up an international discourse where both precinct which pays tribute to the variety of cultures that together make up countries may benefit from a combined learning and sharing process. The the South African landscape. building may be defined into zones that may be commissioned to different artists. These ideals are further justified by the fact that ?commissioning of artists and artisans to design and build commemorative structures? (source: www.dac.gov.za) has been encouraged by the Department of Arts, Culture, Science and Technology. This process thus ensures that proactive works are encouraged and also that they are on newtown: screens over fenestration made of scrap metal (authors own) joubert park: scrap metal door (authors own) metalwork over fenestration (Trasi 2001:54) denI tity and Cu ult re c ti n Ar hi ecture 165 p r 11Cha te : i :Sect on 11.4 Landscaping: light of the setting sun may be diffused through the use of planting. Though the bay The concept of using a blend of materials and does offer protection from prevailing winds elements in the creation of a public streetscape may on the eastern side of the building, the use be taken through to the landscaping to be used. of vegetation may be used for additional Landscaping comprises of the use of both soft and protection. hard elements within an external space. The combination of both soft and hard elements offers a Water is another element that may be used blend of textures, colours, and patterns. Due to the within outdoor spaces in the developing of harsh climatic conditions in the point area, comfortable, stimulating public spaces. It landscaping may also be used to afford the building also allows for reference to Indian extra protection. Architecture where water is regarded as sacred, and is therefore used abundantly in outdoors space such as Hard elements include pavers, pebbles, gravel and courtyards etc. Water may be fused together with hard and soft elements cobble. The use of light toned variations of hard and streetscape furniture to provide ideal outdoor living settings. The use elements may be used to reduce heat gain in certain of flowing water, cover from the harsh sun, exposure to cool breezes all areas (e.g. north facing facades.) Soft elements contribute to allowing one to enjoy Durban's all year round outdoor climate include the use of vegetation that is characteristic of and lifestyle. Durban. This may also be used to assist the building in becoming climatically responsive. Evergreen varieties may be used within areas where shade is required throughout the year. Deciduous trees may be used in areas that require the penetration of winter sun. The use of creepers is ideal for additional softening and shade. Planting on the SW and SE sides of the building will offer protection from inclement weather. The west hard landscaping finishes (authors own) soft planted court with seating and water (Jackson, 2000:24) denI tity and Cu ult re c ti n Ar hi ecture 166 p r 11Cha te : i :Sect on 11.4 11.5)Daylighting: It must be ensured however that irrespective of orientation, the summer sun is kept off all exhibition and working spaces. This is important when As discussed under the section 'Micro Planning' the orientation and depth one considers that the sun actually rises south of east, sets south of west of the building affords adequate exposure to daylighting to the various and is directly overhead at midday. This may be achieved through the use spaces. It is also necessary to control the amount of light that enters into of adjustable horizontal and vertical louvres at varying angles, which may the space. The amount of light that is allowed in is subject to the use of the be used to exclude harsh light but allow for the filtering of it to an ambient space and its light requirements. The method of filtering the light is light. dependent on the orientation of that space. The following table show the basic light requirements needed for various The north facing facade will make use of fixed and adjustable sun control spaces within the building. The lux levels include both artificial and natural devices that allow for the filtering of the direct penetration of the light. lighting. These will be used in conjunction with overhangs, which are appropriate for a north facing orientation. They allow for light within the winter months but cuts out light during the summer months. The control of light on the east and west facades of the building will be done using a fixed horizontal louvre system with lateral extensions to filter oblique sunlight. The eastern facades may however be kept free of shading devices if necessary. This may be necessary to allow views out towards the bay and bluff area beyond. This is acceptable as east light in being early morning light is of a low intensity and is desirable. The south facing spaces offer good opportunities for working spaces due to the diffused, constant and indirect nature of the sunlight received. It is the south facing fa?ades that one may find opportunity in allowing for larger openings with uninterrupted views to the outside. Orientation 300 lux Offices 300 - 500 lux Exhibition Spaces 50 lux to unlimited Retail 200 - 300 lux Archives 300 lux Residential 200 - 400 lux Coffee Shops 150 - 500 lux Conference 200 - 500 lux Service Areas 150 - 300 lux Meeting/ Workshop 200 - 600 lux (Rambhoros, 2004: 117) denI tity and Cu ult re c ti n Ar hi ecture p r 11Cha te : i :Sect on 11.5 167 11.6) Natural Ventilation: which leads to a cool pleasant environment. This may be done through the use of cross ventilation through spaces. This allows for the movement of A comfortable environment is said to exist at 24? with a 50% relative fresh cool air into the building resulting in a comfortable environment. humidity. (Givoni, 1981) Durban, due to the fact that it is in relatively close Fresh air may be drawn into the building through the use of operable proximity to the equator means that the city experiences a tropical climate. sections. The application of this concept is especially appropriate in the It has high temperatures, humidity levels and rainfall during the summer context of this thesis in that uses the movement of air in its maritime context months. Winters may be described as cool, sunny and dry. to its advantage. Its relatively close proximity to the equator means that Durban experiences Due to this the majority of the building will be able to operate without the a tropical climate which has high temperatures, humidity and rainfall levels use of air conditioning devices. The depth of the plan is halved through the during the summer months while cool sunny and dry conditions during use of courtyards which allows cross ventilation to be of further stimulus. winter. Therefore the temperature in Durban is at an acceptable level, but The depth of each of these components does not exceed 10m, which is in there remains the need to reduce the humidity. A comfortable environment keeping with the requirements for successful ventilation. This is further exits from March to November. During this time there it is not essential to facilitated by the use of sufficient operable volumes that allow the maritime implement breeze in. Large operable sections may include louvered clerestories, c o o l i n g doors and windows all of which allow for the movement of air in and out of methods to the building. In doing so it provides relief within a humid climate. r e d u c e humidity. F o r t h e remainder of t h e y e a r humidity may be reduced by inducing air movement louvred clerestorey for ventilation and daylighting with glazed doors for daylighting (DIGEST 2003:116) louvred and glazed doors for ventilation and daylighting large openable windows for ventilation and daylighting The building is naturally ventilated; eliminating the need for active cooling systems. Mechanical means of ventilation are used such as fans and diffusers which create further air movement, reducing humidity. The conference venue?s auditorium within the basement cant be cross ventilated. This area may need active cooling, and will employ a split system. This system allows for individual control, saving energy and reducing running costs of cooling the entire building. The proposed system is a dehumidification device. It is an air conditioning system that has a dehumidifier built by a mech. eng. It works in similar fashion to air conditioning, but uses 33% of the required energy in order to reach 60% comfort level. It does not cool the air. it dries the air by removing moisture, which as is the primary cause of discomfort within Durban's climate. denI tity and Cu ult re c ti n Ar hi ecture 168 p r 11Cha te : i :Sect on 11.6 Bibliography: DE KIEWIET, CW. (1937). The Imperial factor in South Africa. A Study in Politics & Economics. Cambridge: Cambridge University Press. ABEL, C. (2000). Architecture & Identity ? Responses to cultural & technological change. Oxford: Architectural Press. DERRIDA, J. (1974). Of Grammatology. John Baltimore: Hopkins University Press. ARBALIEV, G. (1982). National Traditions in Architecture. 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Human Geography in the 1990's: Challenges Ccxx, no. 1314 (May): 44 -46 engendered by transformation. 86 ? 93. Cited in MCCARTHY, J. & RODGERSON, C. (1992). Geography in a changing South Africa: ANONYMOUS, (2006). Lubetkin Prize. Architectural Review. Vol. Ccxx, Progress & Prospects. Cape Town: Oxford University Press. no. 1314 (August): 8. STEELE, J. (1998). The Complete Architecture of Balkrishna Doshi: BREMNER, L.J. (2002). The Shape of Memory. Architecture SA. Rethinking Modernism in the Developing World. London: Thames & (November/ December): 34-43. Hudson. denI tity and Culture c tin Ar hi ecture 170 B b i grp i l o a hy DAVEY, P. (1995). Museums in an N-Dimensional World. Architectural Architecture SA. (May/ June): 34-35. Review. (July):77-78. RUSSELL, J.S. (1999). Daniel Libeskind's Museums Challenge DE BEER, I. (2003). Nelson Mandela Museum Umtata/Qunu/Mvezu, Curators & the Public Alike. Architectural Record. Vol. 1, (January): 76- South Africa. Architecture SA. (March/ April): 25-29. 81. DIESEL, A. (1997). Hinduism in KwaZulu ? Natal. KZ-NIA Journal. SAINI, B. (2000). Ancient Symbols in Architecture. Architecture + Vol.22, no. 1 (January): 1. Design. (July/August): 103-105. DU TOIT, D. & LE ROUX, S. (2004). Centre Court. Architecture Review. SACHS, A. (1998). Judge & Jury. SA Architect. (June): 27-29. Vol. 216. (November): 64-88. SCHULZ, B. (2001). Inidiscje Botschaft in Berlin. Baumeister. (July): 43- LE GRANGE, L. (1983). Development & architecture in South Africa. 49. Architecture SA. (May/ June): 19-22. SLESSOR, C. (2000). Art & Industry. Architecture Review. (August): 44- LIPMAN, A. (1961). Towards a critical approach in Architecture. 49. Architectural Record. (Sep/Oct): 27-31. VARKEY, K. (2000). The Essence of the Indian Tradition. Architecture + LOW, I. (2003). Space & Transformation: Architecture & Identity. Digest Design. (July/August): 98-103 of South African Architecture. (-): 34-38. (2000-4). DIGEST OF SOUTH AFRICAN ARCHITECTURE. NAICKER, R. (1997). Sydenham Road Mandir. KZ-NIA Journal. Vol. 22, no. 1 (January): 4-5. Unpublished Sources: NOERO, J. (1985). Looking for Identity. Building Design. No. 765. ALLINSON, M. (2003). An Indian Trade & Cultural Centre. Durban: (November): 31-33. University of Natal. PEARSON, C.A. (1995). Asian Cities: Is 'Generic' the wave of the BULLEY, N. R. (1970). An Indian Market. Durban: University of Natal. Future? Architectural Record. Vol. 184. (March): 19-20. DAVIDS, J. (2006). Architecture & Identity: Case Study of Wentworth. PETERS, W. (2004). Building the New Constitution. KZNIA Journal. Durban: University of Natal. Vol.28, (January): 3-6. FRANK, J.C. 1998. Between Memory & Hope. Johannesburg: PILLAY, S & DAVIES, G. (2003). Grey Street Precinct. KZ-NIA Journal. University of Witwaterstrand. Vol. 28, no.1 (January): 6-7. GARACH, H. (2001). An 1860 Indian Heritage Centre for Durban. RAPAPORT, A. (1983). A man environment approach to Design. Durban: University of Natal. denI tity and Culture c tin Ar hi ecture 171 B b i grp i l o a hy GOVENDER, A. (2004). Point Market Transit Node. Durban: University of Natal. HARBER, R. (1965). An Islamic Centre. Durban: University of Natal. LESSING, P.N. (1998). Cultural History Museum for Durban. Durban: University of Natal. NAIDOO, N. (1997). Design dissertation: A Hindu ashram. Durban: University of Natal. RAMBHOROS, M. (2004). Index. Durban: University of Natal. SHARPE, C.M.T. 2003. Coming Together: The Role of the Apartheid Museum in helping renegotiate memory & identity in Post Apartheid South Africa. Johannesburg: University of Witwaterstrand. denI tity and Culture c tin Ar hi ecture 172 B b i grp i l o a hy Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian 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and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural Relations Indian Institute of Trade and Cultural P E CEP NDI SA 1 37 C H A P T E R 1 2 Appendix A ? The South African Indian By way of Indian Philosophies in Architecture, the contemporary method of Introduction design may be reinterpreted in a new context whilst still retaining the essence of their traditions and principles. There are over 900 000 Indians who currently reside in the greater Durban area. (www.stats.co.za). The descendants of indenture labourers, Indians 1860 ? The Arrival of Indians as Indentured Labourers today are heavily influenced by Western Society and as a result Indian culture is failing to make an impact on the Indian community. This thesis South African Indians concerns the regeneration and preservation of the Indian culture through a arrived in the British study of spaces and architectural structures, to create a cohesive social colony of Natal on the environment which will initiate economic redevelopment and social 16th of November interaction. 1860. While some came as passenger It aims to create a scheme which will allow for the accommodation of Indians, who paid their tourists (Durban tourism has long been claimed that diversity is one of its own way to South strongest assets), while at the same time catering for the needs of the Africa in order to take public by providing a series of cultural, recreational, trade and retail advantage of business facilities. opportuni t ies, the majority arrived under false pretences of a better life and were made to In the current context of globalisation, the Indian population in South Africa work as indentured labourers in the agricultural sector, the railway can be used as a stepping stone to increased trade and cooperation construction department or in the coal mines under severe conditions. The between India and South Africa to the benefit of both nations. Parallels may few that found work as special servants, worked as waiters, hospital be drawn between the two countries that may be used to strengthen ties. orderlies, coachman and cooks were considered to be fortunate. India, at over 5000 years old, is recognised as one of the oldest civilisations known to man. It has the potential to offer rich resources which will prove Initially they isolated themselves by caste and religion, but through invaluable to South Africa as a developing nation in its search for a better circumstances and the harsh reality of life as little more than a slave, the quality of life and to the benefit of all South Africans. Indian community banded together to protest the injustices imposed upon denI tity and Culture c tin Ar hi ecture 174 App di en x A denI tity and Culture c tin Ar hi ecture 175 App di en x A them by the British Colonial government, a scenario that was replicated in Apartheid & India many parts of the world such as Fiji, Mauritius, Guyana, Trinidad, Surinam, Malaysia, Kenya, Sri Lanka and many more. Over two million Indian men With the advent of Apartheid in 1948, India in a bid to exert pressure on the fought on behalf of the British Empire in several wars, including the Boer South African government, gave a three month notice of termination of the War and both World Wars. Despite the injustices and in the face of trade agreement between the two countries, a further three months later all adversity, a remarkable turn of events occurred, over the course of the next relations with South Africa was terminated. Being the first country to sever two generations. Through nothing more than sheer determination, hard ties with South Africa and to sever all trade relations, India placed itself at labour, and a calculated withdrawal into their culture, South African Indians the forefront of the international community in its support for the anti successfully provided their children with better economic futures and apartheid struggle in South Africa. India continued, throughout the struggle opportunities, and eventually came to play a major role in South African for democracy, to put the issue of apartheid on the agenda of the UN and trade and commerce industries. every other possible forum including the common wealth summits. These actions were directly responsible for the formation of a special UN The immense contribution of the Indian people to the economic growth in committee against apartheid. Durban and indeed Natal cannot be under estimated. The Natal Mercury, in a leading article stated that with the advent of Indian labour, the export of As honorable and as selfless as these actions were, it did lead to the South sugar alone increased from ?26,000 in 1863 to ?100,000 in 1864. The African Indian community being isolated, with no support from their mother protector of Indian Labourers at the time, stated that Indians had become land they would have to fend for themselves. The Indian community found indispensable, and that if they were withdrawn the "country would at once themselves geographically, economically, culturally and even linguistically be simply paralysed". Sir Liege Hulett, the ex-Prime Minister of the Natal isolated. It is within this context that Gandhi arrived and fashioned his colony further emphasised the point when he stated that Durban had been optimistic view of humanity and harnessed the strength of an oppressed solely built by the Indian People. community. It proved to be the ideal setting for him to develop his principles of Satyagraha. It served as a stepping stone for Gandhi to become an In is also under this context, within the early part of the 20th century that exceptionally important figure in the liberation struggles of India and South trade between the newly created Republic of South Africa and India Africa. reached unprecedented heights. South Africa quickly became one of India's leading trade partners, receiving 5.5% of Indian exports. This state He was instrumental in the organization of coordinated action through the of harmony was not to last forever. formation of political organizations at local, provincial and national level. denI tity and Culture c tin Ar hi ecture 176 App di en x A This created a platform through which the Indian community expressed cultural, diplomatic isolation and the imposition of trade, arms and their accumulated grievances and cultivated the desire to resist and investment sanctions against South Africa. This led to a crisis situation protest. During this period, Indians fought alongside their Black comrades, where with the sharp fall in the rand value and the price of gold, together and considered themselves black. In a fight against a common adversary, with increasing inflation and unemployment made it difficult for the Indians proved to be important role players in what was to be a successful government to continue the implementation of apartheid. The continued anti-apartheid struggle. Several Indians even rose to positions of power economic privileges and the political security enjoyed by a minority for so within the African National Congress. Out of the 50 ANC executive long could no longer be taken for granted. committee members in 1994, eight were Indian. To put this in perspective 16% of the elite members of the most powerful political party in the country ?We will not accept cosmetic modifications to apartheid. The brave people were derived from 2.5% of the total population (Indians). of South Africa have not waged their relentless struggle for freedom to see Pass Laws replaced by identifications cards. Nelson Mandela has not Despite this, South African Indians today are consumed with issues of suffered a lifetime of incarceration only to leave the smaller prison of anxiety and lack of identity and belonging within the South African Robben Island for the larger prison of South Africa.? sociopolitical climate. How is this so? In order to answer this question one Rajiv Gandhi ? Prime Minister of India (Gupta in Sawant 1994: 204) needs to look at, in detail, the events leading up to and including the first democratic elections. The National Party responded to this unyielding pressure with minor cosmetic changes to the apartheid system and with the formation of The 70's and 80's was a time of intense struggle and unrest. It was marked homelands where Africans were allowed to set up small industries and by strikes, demonstrations, boycotts and guerilla attacks which were engage in trade and commerce. These acts did not have the desired effect largely spearheaded by Umkhonto we Sizwe (meaning spear of the however as the government was eventually forced to abandon their nation), the armed sector of the ANC. During this time India continued to apartheid policies, releasing political prisoners including Nelson Mandela, provide moral and material support to the ANC, providing funds, clothes, and legalizing certain specific political parties. food, educational material and scholarships for refugees and exiles in preparation for their return to South Africa. This was followed by a period where in an effort to delay the process of democratization, tribal and ethnic divisions where encouraged. The The ruling National Party were further strained by the intensive government in an attempt to prove there were other African groups apart international campaign spearheaded by India for commercial, sports, from the ANC who should have power and that due to the infighting denI tity and Culture c tin Ar hi ecture 177 App di en x A between African parties, peaceful transitions would require five to ten South African Indians too have experienced anti Indian riots, most notably years. in 1949, 1985 and 1991 during which Indian townships such as Phoenix were bunt down and Indians were attacked, their houses looted and This was merely an attempt by the government to get sanctions lifter and destroyed and some even lost their lives. diplomatic ties reestablished without having to lose their grip on power. Fortunately the ANC ensured that sanctions were only lifted after a change It is true that even though these events may be isolated incidents, there in the constitution, and the formation of a new government through the have been incidence of a smaller magnitude, leading to these anxieties still process of a free and fair election. But before the wheels of democracy persisting to this day. These events may be seen as the root cause of the where fully in motion, South Africans had to endure a period during the creation of an exclusive minority group who have remained isolated to early 1990's where there were several cases of riots amongst ANC themselves and have failed to integrate themselves with the majority of the supporters and other African parties. Over 15 000 people lost their lives people. They have failed to contribute meaningfully, or become part of the during this period and extensive damage was done to property throughout cultural milieu of the country. the country. The vast majority of South Africans Indians have not heeded the advice of At this stage it is worth noting that though Indian South Africans were their community leaders to integrate themselves within their country. This discriminated against, they were relatively privileged in comparison to may be partly attributed to colonial and apartheid policies which were other groups. designed to discourage and minimize interracial relations and integration which in effect was a divide and conquer strategy. This fact, together with the uncertainty of the time, created an atmosphere of confusion and dread amongst Indians. Indians felt a threat to their way of This lack of integration has undoubtedly created inter racial animosity. life and felt they would be pushed down the economic ladder. This fear was further flamed by the fact that Indians did not have the numerical or political ?These tensions cannot disappear as long as racial or ethnic differences advantages of the other racial minorities. coincide with economic stratification.? These fears were further compounded by the knowledge of the Despite governments best attempts at addressing past injustices, there is experiences of Indians in Uganda and Fiji where 60 000 people of Indian still a pattern that suggests that race has a direct relation to poverty that origin had their property expropriated and were kicked out of the country. suggests that race has a direct relation to poverty in that the majority of denI tity and Culture c tin Ar hi ecture 178 App di en x A Africans are still locked in the vice of property, homelessness, illiteracy and countries. This can happen on two fronts. unemployment. Firstly, History has shown us that traditional economic ties between the two If this trend continues as it has since the advent of democracy, these racial former British colonies and western nations have produced nothing but frustrations will rise. There have already been documented cases of riots, poverty, misery and disease. This statement is justified in all instances right looting, arson, destruction and increase in violent crimes in general. The from colonisation to the present times of globalisation. Third world cause may be economic deprivation, but the effects and byproducts have countries are merely seen as producers of raw materials and buyers of been social and political division. finished products. With the price still being determined by our former colonial masters it continues to plague our economies. Economy The tension caused by these events has instilled fear amongst South Recovery Programmes have been put in place but have been tailored in African Indians, of a repeat of racial explosions as seen in the past. This the west and imposed on us. The majority of African nations spend more concern, given the assurances from government and the reasonable state than half of their foreign earnings servicing international debt. of the country as a democracy, is more psychological than probable. However this does not imply that it is not a problem. It is an issue that needs There is scope for practical cooperation to take place between South Africa to be addressed, in order for Indians to be meaningful participants in a and India to mutual benefit, thereby assisting both countries out of the greater city community. strangulation of colonisation and globalisation. Post 1994, Both Governments have pledged to increase diplomatic relations between the This initiative needs to be achieved within a framework that is geared at the two countries. The result being an increase of 75% in trade between India production of a mixed economy and the elimination of poverty along class and South Africa in 2005. and racial divisions of the past. Commercial relations have increased, from virtually nothing in 1993 to a It has been already been established that historically India has proven multibillion dollar industry. Despite this, there is still room for increase and itself to be one of South Africans most loyal allies, both in the apartheid further strengthening of social, economic and political ties for the mutual struggle but also in terms of trade, prior to sanctions during apartheid. benefit of India and South Africa. The millions of Indians in South Africa may be used as a bridge between Secondly, South Africa provides a flourishing market for India's exports, India and South Africa resulting in increased interaction between the two these being textiles, pharmaceuticals, bulk drugs, dye, leather goods, denI tity and Culture c tin Ar hi ecture 179 App di en x A ferrochrome, aluminum, steel and heavy industrial machinery. India may with India, relations must occur along two guide lines. The first issue would take advantage of South Africa's technological advances in the fields of be relations with the South African government, which must lead to energy production, coal mining and the construction industry. South exposure of approaches and ideas and implementation to identified African exports to India may include gold, silver, precious stones, inorganic problems of common interest, to the benefit of all members of the public chemicals, coal, metal ferrous ores, metal scrap, vegetable oil and sector i.e. all South Africans. We must create platforms through which fertilizer. common areas of understanding and mutual benefits in the fields of economy, politics and strategy may be identified. Secondly, The South African Tourism industry is currently positioned as one of the fastest growing tourism destinations in the world, with Durban The second link would be relations with South African Indians. The Indian being a major contributor. governments concern for South African Indians must not be misunderstood by other South Africans as an attempt to protect the Tourism between South Africa and India has shown an upward trend but is privileges of South African Indians. Indian South Africans have stated that still below potential. There is potential in marketing South Africa as the they do not look to India for their future. The majority of them believe that place where the foundations of the movement that led to India's they do not look to India for their future. The majority are of them independence was launched. This argument is further strengthened by the understand that their best interest lies in the establishment of a truly fact that visitors from India are the biggest contributors to South Africa's R3 democratic society in South Africa. The main aim of relations must be billion rand tourism industry. The average Indian visitor spends R11 392 in presented through the correct forum, and state that it is not to spread South Africa while on holiday. This is higher than tourist from any other part Indian, Hindu or Islam ideals but areas of mutual benefit or material culture of the world. The recent shooting of Bollywood films has also increased that will aid all communities e.g. India and South Africa both have a strong awareness of South Africa as a tourist destination.(Khumalo, 2006: 3) arts and crafts culture and information in terms of production, marketing and tourism promotion may be developed along concurrent lines. Similarities may be drawn from the problems and issues facing both India and South Africa. Both nations are regarded as emerging third world There will always be a spiritual link between India and South African economies with similar social concerns such as HIV/ Aids, unemployment, Indians in terms of religions and beliefs. Therefore India will always play a rapid urbanization and the overwhelming need for low cost housing. role in the provision of tools to aid in transmitting knowledge to succeeding South African Generations. But the primary impact of relations must be to For South Africa to realise the full potential in these prospective relations the benefit of all South Africans irrespective of origin, colour or ideology. denI tity and Culture c tin Ar hi ecture 180 App di en x A This is not meant to imply that differences can be resolved by pretending At the end of the apartheid era, many Indians began to support formerly that they do not exist. We must promote a society that upholds liberal views white parties such as the Democratic Alliance and the New National Party. on equality, and a society where culture may be freely expressed and not These issues were further compounded with the implementation of the confined to expression in the privacy of our homes. Employment Equity Act and the Black Economic Empowerment Act which aimed to promote and achieve equality in the workplace. South African Indians Today Although Indians are considered black for the purposes of Employment Equity, and are thus eligible for affirmative action benefits, there remains a At the advent of democracy the average Indian believed that change would perception among Indians that they were not white enough during present a better quality of life. However with a weak currency, high apartheid and are now not black enough for the new government. Even unemployment rate, high crime rate, affirmative action, and corruption more alarmingly there is evidence to suggest that there are large within the government, the Indian community has lost hope and has yet to percentages of Indians who think that things were better during Apartheid. fulfill its potential in contributing towards cultural diversity and as This led to feelings of apprehension and led the Indian community to productive members of the new social-political climate. alienation and isolation from society, ceasing to identify themselves with the current socio-political climate. ?The results of the first democratic election in April 1994 were another demonstration of the salience of group identity in South African politics. Due to this we see several scenarios where, in a bid to reestablish an The election results reflected a racial census? The National Party was identity, the Indian community has looked back at their history and origin in supported by 65% of the coloured and Indian voters nationally, with 60 ? a search for answers. There is an increase in the amount of literature being 70% of coloured voters in the Western Cape voting for the party.? circulated pertaining to Indian SA life, be it books, magazines, newspapers (Reynolds, cited in Zegeye, 1994: 337) or television productions and other formats of media. The interest in religious movements has also increased. This is further reinforced by the ?Apartheid-indoctrinated fears of African domination and distrust of African formation of several community groups such as the Indian Academy of SA administrative competence, loss of relative status in the racial hierarchy and the opening of a branch of the Global Organisation of People of Indian and competition for jobs and housing were in large part responsible for this Origin. support.? (Finnegan, cited in Zegeye, 1994 337) denI tity and Culture c tin Ar hi ecture 181 App di en x A We may deduce that a clear view of the past is a necessary basis for of traditional values. There are increasing cases of social problems such appropriate action in the present. This is of even more importance in our as crime, drugs and alcohol abuse within the Indian community. Another country, where the history of most South Africans were ignored or issue that needs to be addressed is the prevalence of and increases in obliterated. Revisiting the History of South Africa is central to creating a HIV/Aids among Indians and the lack of acknowledgement of the problem. new identity. The centre will act as a gathering post for the Indian Community through the promotion of the Indian arts in the form of classes for the various I feel there is an opportunity presented here, where, through the built form, languages, dance forms, religions, food, and customs. This will help Indian personalities, heroes, and events pertaining to South African Indians instill faith and pride in themselves along with self belief and a Indians may be given their rightful place in our consciousness and our means of stopping the self destruction of cultural beliefs and erosion of history, something of their presence must remain as a reminder. It will traditions. serve as a visual display of the History of the Indian people and to sustain the memories of a local community and as the seed for the creation of new Another issue I would like to explore would be a non ? western design opportunities. This would be done via the exhibition of paintings, practice, this being Indian Architecture and its design theories and sculptures and artifacts, and act as a store and as a means to collate philosophies. Through the design process I would like to reinterpret the various archives of information on Indian History under one roof. contemporary method of design through eastern philosophies, thereby retaining the essence of these traditions and principles. In the year 2010, South Africa will mark 150 years since the arrival of Indian Slaves into the country. This landmark will be documented and indeed Trade Potential celebrated, but the reality of the fact is that With the end of the apartheid era, South Africa was thrust into the limelight ?Real Indian Culture is struggling to of the world form and onto the international stage. South Africa has the make an impact on the Indian Community.? potential to assume the role of a leader in Africa. Dr TP Naidoo ? Director of the Indian Academy of South Africa. (Source: Sunday Times Extra, 08/ 10/06 Pg 3) South Africa played a defining role in the formation of the Southern African Development Community (SADEC), which is a consortium of all Southern Indians find themselves in a society that is rapidly being moulded by the African countries aimed at ensuring political and economic stability within frenetic and stressful pace of Western lifestyle influences, to the detriment the region. These actions can be interpreted as an acknowledgement by denI tity and Culture c tin Ar hi ecture 182 App di en x A South Africa that her future is inextricably linked to Southern Africa. relations between South Africa and India, in an appropriate city such as Durban would ensure that relations are carried out at an optimum level and In order to fulfill the potential of South Africa as the link between Africa and will also relieve pressure on other convention and exhibition facilities. the rest of the world, relations with countries such as India who possess a wealth of knowledge is essential. South Africa must use its existing resources to explore these avenues. Durban is the largest port in Africa and amongst the five largest ports in the world. This makes her one of the strongest assets in terms of trade available to South Africa. Durban is situated on the east coast, which places it in an ideal geographical position for trade with the emerging Eastern Economy, in which India is playing a major role. MAP Durban finds itself in a context of intense growth. It has hosted several conventions for SADEC, numerous economic, human rights conferences and even meetings of the Common Wealth Nations. The construction of the Durban International Convention Centre (ICC) and the Durban Exhibition Centre has no doubt improved the image of Durban, globally. Durban needs to capitalise on this exposure and there is definitely a case for the development of facilities and the upgrade of existing ones. The ICC and Exhibition centre are already at full capacity in terms of hosting events and trade exhibitions etc. India as mentioned is one of South Africa's foremost trading partners and a centre that will deal specifically with denI tity and Culture c tin Ar hi ecture 183 Ap endi B p x A n x B ppe di denI tity and Culture c tin Ar hi ecture 184 App di en x C Ap d pen ix C denI tity and Culture c tin Ar hi ecture 185 App dix en D Ap d pen ix D denI tity and Culture c tin Ar hi ecture 186 ppendix E A A n x E ppe di