THE CULTURAL ENSEMBLE: 
A STORYTELING RESOURCE
 Daniel Tsuen
 A design project submited to the Faculty of Enginering and the Built Environment, University of the 
Witwatersrand, in fulfil nt of the rquirements f the dgre of Mastr of Architectur (Profesional).
 Johanesburg 208
Thanks to
 God : For giving me strength MA rchitects : Sindi for al the help with 
and coura. rawings of th Sci - 
Bon cmplex.
 My Family : For al the suport and 
mny sacrifices. Mohlomi, Rantoa nd Ramokan:    For al the help with 
         structural isus.
 Buli & Angel : For the wind benath my 
wings. I love you lots.
 Ntate Motpi  : For the suport, faith and 
inspiration.
 Profesor Paul Kotze: For constructive criticism 
and cnfusion.
 Profesor Randal Bird: For al the help. I?m lost 
fr words.
 Profesor Lone Poulsen: For al the help and 
cnstructiv criticism.
 Kent Walker : For great mentorship, 
pushing  t hard 
and making me think.
 Mohamed Munchi : For constructive criticism.
 Mphethi Morjel : For al the time and for 
the constructiv criticism 
and inspiration.
 Jean Noel Chan Sing: For great friendship and 
suport.
 Lineo Lerotholi : For cnstructive criticism.
 Sundp Jivan : Fr constructiv criticis.
 Library Staf : For al the help and 
friendlins.
 Market Theatre Staf : Mosima Mokwena & 
alcol Purky for l 
the help and infrmation.
 Afrika Cultral Centre: Mr Benjy Francis for al 
th hlp nd infrmtion.
 The Lab : Daniel and Vanesa for 
the hlp n informtin.
 acknowledgements
      acknowledgements
I,  , am a student registerd for the 
course  in the yar 
208. I hreby declare the folwing:
 I am aware that plagiarism ( the use of someone lse?s work 
without prmision nd/ or withut acknwldging the 
original sources ) is wrong. I cnfirm tht he ork submitd 
fr sesmnt for the above course is my own unaide work 
excpt wher I hv statd xplicitly therwis. I have 
folwed th rquired conventions in refrncing thoughts, 
ideas, an visual matrials of thers. For this purpose, i have 
rfred to the Grdute Schol f Enginering and th Built 
Environment style guid. I understand that the University of 
the Witwatrsrand may take isciplinry ction aginst me if 
thr is  belif that his i not my unaide wrk or that i hav 
failed to acknowledge the surce of th ideas r words in my 
own rk.
 This document is submited in partial fulfilment for the 
degre :  at th 
univrsity of the Witwatersrand, Johanesburg, South Africa, 
in the year 208.
 Danil Tsuen960576G
 ?Mastr of Architcture [Profsional]?
 Mastr of Architcture [Profesinal]
 declaration
     
 declaration
page
 1.0Introduction 01
 2.0Proposition 03
 3.0Isues 08
 3.10Architecture and storyteling 09
 3.1Spcs f imagination and meory 09
 3.12Active nartives 10
 3.13Tragdy in rchitcture 1
 3.20Devlopment of the Library 13
 3.0Technolgy, Globalization and Cultre 18
 3.40Public Space 19
 3.50Hearing Architecture 19
 3.60Architecture as  musical instrument 20
 4.0Storyteling and Oral History 21
 5.0Program 29
 6.0Siting 34
 7.0Precdent Studies 52
 8.0Design Devlopment 74
 9.0Final Design 94
 10.0Bibliography               106
 table of contents
      
table of contents
Cultral instiutions such as libraries, archives, museums, This library is a modern architectural solution that redefines 
churches etc in any society help in moulding inford and the clsicl ?typ? of the library nd its rle in socity and 
enlightnd societis by promoting values that bin society rintrprets it o confrm to the times.
 toether. Knwldge of such values, s promoted by th 
cultral instiutions, is ky to the wl bing f scities, and We live in the information era wher ther is an abundance 
aces to such facilties i significant o the welfare of society. of information and l st nything can be done on - lin; 
shping, visiting museums, banking an acesing 
Clarke (1975 : ix) writes, ?A distinct harcteristic of man is the information contained in libraries. Knowledge is no lner 
ned to comunicat an record knowldge.? He goes on cnfied t the bok. One my then ask if w stil nd 
to say? ?Civilized societis hav taken great pains t place libraris in th infrmation ag as instiutions of knowledge, 
recrde knowleg in sfe plcs and crete archivs information and enlightenment.
 an libraries fr this purpos.?
 The answer is yes!
 In pluralistic societis like South Africa, one is aware that 
ther re many difernt scietal prctis nd s such, The information age has led some libraries to close, but 
difrent vlues exist. It is imprtive in such pluralistic dspite this, librris ar stil rlvant. Lirris ned t adpt 
socitis that on is informed in ordr for harmony to exist. to th information ge and cter for the ns of an 
Architecture can be used as  scial genrtr in this case, infrmatin hungry society of today. To suprt this, 
espcialy in ths chnging tims when new socil Bruijnzels (208:10) writs, ?The l clasic library is 
racties emerge, and new cultres ar produced. disaparing, supersede by nw media, the internet, new 
Architctur in this cse bcomes a tol in creation of user concepts and othr (marketing) strtegis? 
?apropriated spaces? acrding t Mofkng(Blank: 
Architectur, Arthid & After, 198 : B8). foken goes This is a clear cal for the library of the futre, and is further 
on to say that people apropriate space out f a ned t suportd by Mnaugh and Twiley ( 208 : 08) who writ,  
belng. ?Twenty first century librries ar increasingly defined by 
thir lack of boks and thir profusion of servics. Toay?s 
Mofkeng(Blank: Architecture, Apartheid & After, 198 : B8)  public libraries hve comuter terminals and cafes, not 
als writs, ?People apropriate sc in ordr to invest dusty encylopdias.? 
spiritual meanig in  it.? This is n idication that the us of 
sace givs meanig to a place, nd it is thus fiting fr The library of the futre is sen by this thesi as a 
rchitcture to crte spces inclusive an open to al so as mditheque dicated to th rcording and tling of 
to cement sciety togthr. South African stories n Oral history. Thes stories may be 
cultral, religius r otherwise. The cultral nsble is thus 
This thesi endeavors to create a mediatheque as a  sen s  place fr enlightnmnt and education, a place 
storytling rsurce and rchiving fcility. The for fun, and  plac for eflction.
 mediatheque as a storyteling resource is a library of th 
futr. 
01
 1.0 introduction      .   
     
introduction      . 
Document structure
 This investigation begins with an idea that wil at the nd Chapter 6, Siting, deals with te site as n ideal ocation for a 
translat int an architecturl sign s the rsarch plc of storyteling. Isues rlating to how nd why the site in 
findings uide the study. Th chapters as tructurd l led context cam to be dcid upon as the site for a plac for 
to this design prsnte towards th nd of the documnt. strytling re utlin. As wel, an urbn study f the rea is 
caried out and conclusions drwn.
 Chapter 2, Proposition, introduces the main concepts of this 
thesi. This is dne firstly by prsntig the inspiration t the Chapter 7, Precdent Studies, contains buildings tudied for 
thsi project, which is mainly cultral. Concomitnt to this, lesons in making a plac for stryteling. Thes precnts 
then the major isues proposed for study in this document ar meditheques or librries with a clear divrsion from the 
ar outlind. Thes ar largly cultral. One may then say typical. Th study f thes buildings nriches the prgra as 
tht cultre is th controlin concept of this thsi s uch. each building is lokd at in terms of its torytlin qulities 
s wel as pace planing and relationship. Other lesons 
Having introduced one to the main concepts in chapter 2, are also inferd from the prcdents as thy al have 
Chpter 3, Isus, builds up n chpter 2 and explores thse difrent tchnolgical as wel as architectural nd 
concts introduce in chapter 3 from n architctural contxtual reslutins.
 pint of view. Ths are minly crelations betwen 
architectur and storyteling, wher both rchitectur and Chapter 8, Design Devlopment, outlines the design proces 
storytling re sen as cultral tols. Then the dvlopment in stgs from first concet lading to th final productin of 
f the library is tracd. This devlpmnt is ignificant as it the building as a plac for storyteling. Sketches, iagrams 
informs the direction libraris are taking architecturly. models and l strtegies emplyd in th dsign proces 
Furtheror it lucidates the impct of cultre on libraries as are prsente in this chaptr.
 architctural types. Isus dealing with technolgy, 
globalization nd cultre folw the devlopmnt f the Chapter 9, Final Design, contains the presntation drawings 
lirry. Then the isue of public spac, which is a vry for th place of storyteling, s wl as models an other 
important componnt f storyteling is discused. The isue design ids.
 of hering architecture flws that of Public spac. In 
hearing architectur, th materials used and their coustic Chapter 10 and chapter 1, Bibliography and Apendix 
properties r discused. This chptr is conclud by the resctivly, contin  list of acdemic s wel as other 
isu of Architecture as  musical instrument. Architecture as rfrences used in the study. Pckagd her as wel ar 
a musical instrumnt does not produce usic on its own, but  explantions an nots.
 neds  player or playrs t manipulate it, and this is 
discused her.
 Chapter 4 throws light on storyteling and oral history. 
Discusd in this chapter is hw strytlin n rl histry 
are define and used, as wel as how storyteling is used as  
mans of comunicting orl histry. Als discuse r the 
trends iminent in the cmunication an presrvation of 
oral history. Thse wil be very helpful in informing the 
prgram.
 Chapter 5, Program, is a translation of the isues into space. 
The rogram contains l spces considrd as being 
spaces necsary to constiute a building as  plc for 
storytling. They re sen as orgns that oether constiute 
a bdy or a systm.
 02
 1.0 introduction      . 
     
introduction      .
a
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 proposition
 03
 2.0                   .                   .               
This thesi is inspired to a great extent by changing ways of others choreographed etc. Thus many difernt forms of 
living  and the  n t know on?s position i the midst f strytling xist.
 such chngs. Knowledge is thus the veriding principle in 
the conceptualizatin of this thesi. Because storyteling is multi facetd, difernt forms of 
storytling cmunicate diferntly with th spectator r 
We live in changing times wher values kep changing with audience. They convey th sam esage in difrnt ways. 
th tims. Chnin ti s inspir changes in people?s It is thus clar that not al peopl cn comprehnd one 
lifestyles and practies. Some racties r thus reducd to phenomenon s viewed from a single persectiv equaly. 
history, others disapear compltly while nw ones Som thds of comuniction and xprsion ar thus 
emerge. Thos pst rcties are stil relvant as it is thrugh esteric to some peple. As a result, one neds t tel stories 
knowin them that on wil mbrace chnge as an from any difrnt rspectivs in rdr for such stris to 
enlightend and infrmed person, with a clear stndpoint be inclusive to al. 
and irction i life. 
Storyteling has lways ben part of African comunication 
and history, eduction as wel as entertainent fr 
centuries. On can thus y storytling has ben a lifstyle 
and cultral phenomenon f great vlue in society, and 
evn tody it stil is. In th presnt times, formal duction 
instiutins have displaced oldr ways of stryteling in many 
difernt wys. Thse olr ways of stryteling ar displced 
with no records fr futre genrations s they ar 
comunicat raly. Such storis include folklore storis s 
wel as cultrl stories of inspiration an mtivatin. Thes 
storis form part f ur ral history. 
As part of ral history, thes stories are a core component of 
socil meory, and thus hav a grt scial value. Findley 
(205:136), sttes that orl history made up th bulk of 
meorialization among the nn white poulation of South 
Africa in the prtheid ays. One rasn fr this is that the 
non - whit history was not considred as valuable by th 
aprtheid government, and as uch it ws porly rcorde 
if it di gt rcord.  Ther re thus many gaps in history 
that ned to be filed for it to b represnttive. It is the 
thinking of this thsi that l f Suth Africa, nd not he non - 
white cmunity only, should be part of the ral histry f 
today. So, today?s ral histry nds t be rcorde to give 
mre flesh n new perspectives to writn an rcrd 
history.
 Stories as told in movies, oral and writen literature have 
cemnted sciety tgther. One such story is tht of th 
ovie ?Amandla? shown i fig 2 - 1. In the mvie, peple tl 
their stories through music, and highlight he significanc of 
music in fosterin togethernes in times of xtrme hrdship 
Fig 2 - 1 above is a poster of the movie Amandla. This movie tls the and strugl for fredom. Movis ar nt he only ium of 
story of th rol f music in the Suth Africn strugl aginst teling stories. Sm stries are betr of when arted, 
apartheid. Picture fro w.rotntomatoes.com, cited  10/2/08
 2.0 proposition              .               .               
     
proposition             .            .       
04
People apropriate spaces in many difernt ways, and as unit. Again this draws back to the apropriation of space as 
qutd rlier, Mofkeng (Blank: rchitcture, prthei & earlier mentione. A plac with cultrl significnce 
after, 198 : B8) says thy do this out of a nd to blong. bcos symbolic. This symbolic meani ives it a 
Pople?s acts in spce cnsequently give meanig t a landmark status in the landscape, and this landmark not 
plac, nd this imacts on pople?s idntifiction with only sits nd ocupis spce on the landscpe, it als 
lce. It is through te prriatin of space and thrugh rientates. This rientation may b physical, motinl, 
peopl?s acts in spac that stories re also crt and told. spiritul or ven cultrl.
 This identification with plce is what blnging is l but. 
One can thus y that storytling s  cultral phenomenon Rituals are cultral, and storyteling can also be sen or 
fostrs belonging, s it helps with creation of mris and regrd as a ritul. It has bn used to n xtnt that 
identificatin with plac. asociates it with customs nd cultral practies in mny 
scietis. In this thesi, architecture wil enble rituals to take 
One can also consider storyteling to have the power and plac within th building. It is through ths rituls tht 
status of  religin. Rligin plays a very important rl in the cultre il manifest itself and thus render the building and 
wy pepl apropriate sce, nd architecture can hlp spac cultrl. This also reners both t architecture n 
in revaling meanigs of placs o s to nabl pople to cultre as tols of exprsion and nationl idntiy. It is 
aproprite such spaces. Spaces are thus given thir through rituals that mories re creted, an meory is a 
meanig by buildings, nd  as uch rchitcture has lways crucial prt of belonging and apropriation of spac. 
bn used to give meanig to places. Heidegr (Norberg 
C Schulz, 1980 : 63) sys, ?In ther wors, th iven plac Storyteling deals to a large extent with meory and 
poseses a hiden meanig which is revald by the imagination. Architecture of mory and iaginatin hs  
templ.? The tmpl rfrd to in the quot is picture as just very imprtant rol to play in creatin of meniful spaces 
a building in space, and is en as  rligius building in this in that sces that insire imgintin bcome sces of 
context. The lc wher th temple sits had a meanig meory as wl. Such spaces aid man?s abilty to imagine, 
that was not revaled until architctur in the for of the and this bilty to imagin concretizes mn?s being in th 
temple s built in that particular space. A cultral building worl. This agin tkes tory teling to a new lvl, a levl 
can qualy give menig to  place. The Cultral mre apropriate to th tims. Tchnlgy is ubservint o 
Ensemble is thus n as  cultral nd religious building s this. The architcture wil thus promote, encourage and 
wl.  As a place for storyteling the cultral ensemle is no suport storyteling acros al ges and sctors f scity. 
difernt, it is nvisaged t give a nw menig or val  
hidn meanig to public spce and thus foster imprtil Also f key significance to this thesi is how architecture of 
belonging. stryteling comunicats with t observer like a story with 
the audience. Architecture can d this by borwing or 
Religions and cultres may be complementary or drwing from storytling. This, rchitecture shuld o with 
conflicting in ature. As a cultrl phnenon, storyteling the main ai f promoting storytling. Architecture and 
is a social genrator in such a way that it is throuh storyteling s ymbls f natinal identiy should spk the 
storyteling that peple make infernces to rel ife situatins  sam lanuage and promote togethrnes f sciety. 
and isues. This givs a dirctional scal and knowldge as 
to how to relate to cirumstances. One my learn how to Since we now live in times of globalization i which cultre 
handle advrsitis or even rlat to other cultres in a has also ben coodified, this thesi seks to find an 
frienly maner by understanding their valus. It is in this way prpriat stance fr th gain in local cultre nd 
that new cultrs wil thus be produced, and the ne architecture. Storis may also be told to the rst of th worl, 
cultrs il be inclusive of al. This inclusivity brings or nd not confied to locl cnsumption. This stands to 
cements comunities togther. Thus people wil identify as benfit he cuntry as wel because local storytelrs wil be 
a unit because of cultre. It is in this rgard that h Cultrl hard al ovr the world, and thir stries wil nt only help in 
Enseml wil b a cultral place. bringing peopl an comunities together lcaly but 
globaly as wel. Agin, ther socities wil gain  etr 
Cultre also helps in belonging. People who belong understnding of ur cultr by acsing locl storis and 
togthr shr th sam principles and also identify as a oral history.
 2.0 proposition              .               .     
     
proposition             .            .    
05
Technolgy goes hand in hand with globalization, and the name of the sponsored evnt. The brand normaly 
storytelin is afcte by thes global dvncements n bcos the vral winr in this case as its nme nrly 
influnces s wel. Intrnational stries now bco global eclipses that of the sponsored evnt. In South Africa, the First 
stories bcaus tchnolgy fciltats haring f stries nd National Bnk (FNB) spnsors the anual dance fstival 
infrmation. Technolgy also aids torytelin and makes it knwn s the FB Dance Umbrela. Fig 2 - 2 shows this.  Some 
more ultifactd. It cretes more platforms for storytling. famous comercil brands hve ben inspired by 
Technolgicl evics wil be usd t relate stries al chracters fr cultral stories. On may use the xample 
throughut South Africa and al ovr th world. of Disny?s lion king and the Tigr brand to highlight his. Fig 2 
Technolgical devices agin provie multiple platforms for - 3 and 2 - 4 n pge 7 show thes brands. The cultral 
tling stries, n thy include tlecounication devices, ensemble is en as  place fr inspiration s thus.
 the web, radio and many othr avilable mens. Thy wil 
also giv ces to the stries ven whn storytlers are not At the cultral ensemble, storytelrs wil be sen for what 
vilable. Architectur thus has to respnd to such they ar, without any rands atched to thm. Thus they il 
technolgical dvices? requirements as wl as the users? rclim their sttus s icons nd nation builders. This impacts 
rquirements. A conduciv nvironment to the usrs of th positively on their image as wel. Strytelrs are sen s 
plac as wel as the technolgical dvics is what the mtivatinal spakers nd thy normaly us cultral stories 
rchitectur should b about. to drive their oints home. This inspires people bing 
mtivatd. Thus people could com to th cultral 
Branding is another manifestation of technolgy and ensemble for motivatin and reflctin as stries provide 
globlization. It has bco comn practi fr brands to on with such. Thes stories inspire by comunicating 
ascite with the arts as a eans of promoting and values. Knowing on?s valus maks thm relate betr with 
mrketing such brands nd brndnmes. One finds tht his othrs. This makes the place for storytling  place of 
is don as  socil responsiilty cal, but othrs o it for the learnig and of rflction. 
sake f poularity. In mst cases, the rand becmes part of 
2.0 proposition              .               .       
     
proposition             .            .        
06
 Fig 2 - 2 above is an advertisement for the anual FNB Dance Umbrela. Her the brand becomes part of the name of the sponsored evnt. 
Picture frm w.fnb.co.za, citd 10/2/08.
Famous brands and brandnames may arise due to South colaboration betwen storytelrs from difernt fields 
African stories being tol to th rst of the worl. This is en including raphic dsign, artiv and performing arts tc 
as inspiratin to the glbal vilage, and agin it hlps wil help in creating identiies for mny ther chrcters 
storytelrs to mak a livin out of thir tre. An example of featurd in storis. Mor movies, aniations tc wil b 
an intrnatinl chrcter in stryteling is that of Micky crte and help in transiting stories crs the cultral s 
Mouse, fig 2 - 5 below. Storis of micky mouse re pularly wel as rcil ivide locly and intrnationaly. Th cultrl 
tld in cartons and animatins. One can vn buy the nsmble in this cas also cretes a pltfrm for interaction 
charcters, which re peling to th young at heart. and inspiration for storytelrs from l fields. This not nly 
benfits torytelrs, but socity in genral.
 From interaction with te international world, one may find 
Mickey Mouse in storis with chrcters frm Suth African 
storis. Strytlrs can genrate imags of such charcters 
fr animation and crtons, just like Mickey Mouse, through 
inspirtion t he cultral ensembl. An ispiratin of a lcal 
cultral stry is th lion king. This tory has ben turned into 
an international Bradway musical evnt. An image is 
tchd t the lion king story and grphic designers wr 
instrumental in its prductin. A movie with t sam tile as 
also produced. In the movie, graphic designers nd 
nimatrs work togthr in th relization of th movie. 
One ses many mre inspirational charcters being 
producd fro storis at the cultrl ensml as 
2.0 proposition              .               .           
     
proposition             .            .          
07
 Fig 2 - 3 above lft is the lion king emblem, from w.telkom.co.za,cited 15/06/08 .  Fig 2 - 4 in the midle is the Tiger brand emblem, from 
w.tigerrans.co.za, citd 18/06/08. Fig 2 - 5 t the right is that f Micky Mouse, the famous carton charctr and fmily, fro 
.disny.go.cm/charcters/mickey, cited 20/2/08.
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 3.0                     .                         .                         .               
3.10Architecture and Storyteling this means is that rchitecture has to enhance the abilty of 
one to i gine. Architctur hs t b like  paintig, which 
3.1Spaces of Imagination and Memory is a wrk of art just as a story may e. To highlight this, one 
Palsma (196:50) writes,?The timels task of architecture my use n example of a pintig of a house, wher th 
is to crete mbodied xistential taphors tht concrtiz paintd hous is yblic of a habitble hus, but is itself 
man?s bing in th world. Architecture rflects, materializes not habitable. Through enggement with te paintig, th 
nd etrnalises ideas n imags of idal if? painted contxt f the house on th paintig cn  influence 
on to imagine lif bhind r evn iside the hous. On 
This tatement is apropriately definitive of the architecture may als rember similar placs to th paintd context. 
of storytling, nd may b rintrpretd as ying that th Ther is n ispired lif of the inted huse in one?s mind, al 
task f storyteling architecture is to itslf become a story nd bcause of th abilty f th paintig to inspir, an the 
storytelr. int abilty of the human bein t imagine and 
remeer.
 How then does architecture tl stories? Is the big question.
 The human body is in the center her, and space has the 
Architecture has to stimulate the senses in the same way a fct of inducing felings to n inhbiting tht prticular 
story dos. It hs t be an rchitctur of th snss, and this space through its dimnsins and etailin. This thesi seks 
means that spaces crted are spaces f imagintion and to crat an architecture tht stimults the body in difrnt 
ory. Such spaces should thmslves fil ne with and multiple ways through creation of spatil qualities of 
imagination and insiration upon one?s exprience of those ifernt matrils, light qualitis, mvement, textur, smel  
spces. Plsma (196:47)  ges n to say, ?W have an shap and sound. Each spce thus has  uniqu simulation 
inat capcity for remebering and imginig plcs. of bodily experince charctristic to it. Some storyteling 
Perception, mery and imaintion are in constant spaces may b claustrophobic as t siulat privacy 
intractin; th domin of presnce fuses into images of whras oe may be dark and clustrophobic to induce 
meory and fantasy. We k constructing an i nse fear to ne in such spacs. Thes are spaces f mery and 
city f evoction nd rmbrance, and al the cities w imgination. 
have visitd are precincts in the mtropolis of th mind.? Al 
09
 3.0 iSSUES                       .                       .                       .
      
iSSUES                      .                     .                     .
 Fig 3 - 1 above right is a stamp with te Rain Bul, an animal with magical powers in some South African cultres. Picture  from 
ww.funkymunky.co.z, cited 15/05/08. Figs 3 - 2 nd 3 - 3 re socer bls and fig 3 - 4 is a picture of Frncois Pienar, a frer South African 
rugby player. Figs 3 - 2 to fig 3 - 4 from ww.sporting heroes.nt, citd 12/05/08. The pictures al hav stories linkd to them and wil be used in the 
display to nhance imaination and emory, either in thir physical being or as icturs.
Physical presnce of objects in space also reinforces storyteling has to be layerd in meanig so that people can 
meory. Evryday jects like socr or rugby bals, read it in mny difrnt ways. It wil in this wy b a stry nd 
clothing, ornaments as wl as rpresntatins of animls storytelr. This wil be achievd by the cordintion of light 
and charcters tc l have storis conected t the. and shade in spac, txtur, movemnt an sound in as far 
Thes my b individul storis r clectiv an cultral s mtrils are concerned. Again some spaces my be 
storis worthy of sharing. Sme of thes ar shown i figs 3 - 1 theatised nd given story charcter ths. 
t 3 - 4 n page 09. People as a socity idolize people and 
objects, and thse idls bcome inspiratinal t socity. It thus is significant that the language mployed in the 
Thy re talked about and iitated in society, and architecture hs to relt to storytelin. Sacs wil b 
meoris of thir ctins become social meris s  nmd aftr charctrs frm flklr stories etc as this wil 
rsult. An example of this would b a rugby bal signed by reinforce imagintion and heighten xprince of the 
Francois Pinr,  a frmer ugby plyer and cptain of the place. This is what this thesi sks to achiev as far as 
195 Wrld cup wining Sprinoks tm. Francois Pienar creting spaces of imagination and meory is concerned.
 lifted the trohy and sined some bals given t th public, 
popl saw this l throughut South Africa s it was  
telvised, nd the sight f a sined rugby bl brings bck 3.12Active nartives
 moris of th joy and clbrations of the day the Spaces of mory can be spaces of encounter as wel. 
Springbks wn the worl cup. This filed the whole ntion Activ nartive helps in making rchitcture a storytlr. 
with pride and cratd a moent in th history f a united This method of using active nratives has bn employed 
South Afric. The sight of such a bal then becoms a by architects al over th world. Some fmous xapls 
reminder and gts peple talking, shring storis f tht would b the BEST Stores designed by SITE Architects and 
ontous ay. This thsi wil use physical presnce of built etwn 1974 and 1984 in th USA . Two examples of 
bjects in spce to reinforce meory. thos ar the ?Indetrminate Facde? and the ?Forst 
Shwrom?, (Fig 3 - 5 and fig 3 - 6 rspectivly). Loking at he 
On spaces of meory, Findley (Architecture S.A,  Indetrinate Facde, BEST Showrom in Houstn, one?s first 
July/August 204:31) ads that mory is unstabl and imprsion is of  crumbling building. Again it lks like a 
composed of multiple perspectives. Thes perspectives re building under construction. Ther is ome confusion nd 
public inputs r personal intrrtations. Thus architctur of hesitancy crated by the aparnc f the building 
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 Fig 3 - 5 above lft is the BEST Showrom known as the Indetrminate Facde building.  
Forest Encraching Showrom. Pictures frm w.sitnvirodesign.com, cit 2/03/08
 Fig 3 - 6 above right is the BEST Showrom known as the 
regarding its tate or condition. Brayer (202 : 87), says the 
builin  sems suspene betwn construction and What hes two examples highlight is the way convention i 
demolition i a teoral indcisivnes. as fr as one?s intrction with architcture is chalnged. 
The overl lok of the architecturl form of th two exmpls 
A  pile of bricks ems to be faling of the building and is that of an incmplet whole. The incomplt whole 
invading the public space. On my als s it as  pile of engges one with architectur, ither ositively r 
bricks used in the construction of the building. Howevr way nativly. This is o in tht on ses themslves finishing of 
one ses it, th pile f bricks invads public spac of the the incomplet cnstructin of the building, and in their 
strt. This creats confrontation s eople strugle to minds cnstructs a picture f how it wil lok aftr 
comprehnd th state f the building, and agin this plays copletion or corection of its defctive and incmplet  
with on?s imagintion i xactly the sme wy a story does. lk or state. This thesi intens to mploy the sa 
One is chalened t chnge thir cours of mvement t architecturl nartiv for th overal architectur of the 
kp awy from a cascad of bricks that ay fal onto a cultral nsemble. Thus the plac itself wil b a stry that 
paserby hile t he sme time one is chlenged t ps one cn rad and finish in thir own ay. Again rchitecture 
by frly as th bricks ay hav bn purposly stacked tls an icomplet story or that ith puzles tht on solvs 
while the construction progreses. to finish and undrstand the whole story. Brayer (202 : 87) 
says it is the architecture of individuatin, through te flows of 
Loking at he ?Forest Showrom? BEST stores howrom,  the  nartiv dimnsin that enble it t sidstp the 
frest sems t rip the shwro apart. The detachd permptory charcter of orm.
 facd and the rugdnes f the brick courss btwen 
the etche facde an the rst of the building as l as 
th big trs in betwn giv this imprsion. Ain one?s 
impresion of th place is that it is derlict, wheras it is not. 3.13Tragedy in Architecture.
 Th hysical state of th building is not changed, but is Tragedy is on of the many thmes or mesages found in 
psycholgicly fcted. One?s mind is fol y the storis. One may also eploy tragdy in rchitcture in 
ambiguity created by this. trying to crate n rchitcture f storyteling.
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 Fig 3 - 7.   Alvar Alto. Galrates. Milan, 1969 - 1973 (Maxwel 20 : 14)
As an example, one may use Aldo Rosi?s Galrates 
Housing block in Milan, fig 3 - 7. The building is tructurly 
suported by slender rectangular concret columns 
arng rationaly in a module lng its length. A 
rhythmical nd rderly rngent is thus achivd. This 
order is hphazrly broken by th two fat round columns to 
th right end of the picture. This my be sen as an 
introduction of a fls note acording to Maxwl (20 : 14). 
The introduction of the two fat columns to cancel out the 
rhythm speaks f th impsibility f achieving prfection. 
They ar obtrusive and create a frming device by their 
difrent lk and position. 
This may be sen as tragic to the modular rhythm presnt 
acros th ntir length of the building. One may liken this to 
the kiling of a hro in a stry . Stories ar so ful of tragedy, 
and a d nd heroic ction r chrcter in a stry may 
be kile unexpctdly by an unexpctd ction or 
charctr and thus rener the whol story or its end tragic. 
This tragedy invoks popl?s felings in many ways that 
may b ful of cmiseratin or hatred or evn joy to some. 
The two fat cluns in questin thus hav this quality in th 
ovral rchitecture.
 This thesi wil employ some tragic elments in the overal 
architcture of the lace in borwing fro storytling just 
s in the xampl discusd ave.
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4.10Devlopment  of the Library Neds, whether colective or individual, change with time 
To com to trs with what  lirry is, one may first lok at an plac, so d isus of lifestyles. One my thn say that 
the eanig of the ord librry. becuse libraries cater for changing neds to stisfy 
changing lifestyls, thy shuld lso be opn to change to 
The dictionary meanig of the library is: comodat the changing neds and lifestyles nd t 
A lrg ranizd colection of boks for reain significnt cultrl instiutions of servic to people 
readin and refrence, fr use by the public r and comunities they serve. At his pint it is imperativ that 
by  specific group. one highlights th difrnce betwen a librry nd  
bokstore. The two ifer in that  okstore is just a place 
An idividual colection of boks. wher boks are kept with no clear spac for reding, 
hras a librry has space fr rding s part of the 
A building or om containig such a colection storage spce.
 of oks, films, records, music etc.
 Clarke (1975 : ix) writes that rchives wer the foreruners of 
An instiution or organization holding such a librris. As forerunrs, rchiving as a way f rcording 
colection. history and knwledge before boks cme into being. The 
library my thus b sn as a further dvlpmnt of th 
From the dictionary meanig of the library, one can deuce  archive. Both are instiutions of knowlege and typicaly 
that libraris are both buildins and colectins, privat and work togther in providing knwledge.
 pulic. As colctins they are mainly intende to stisfy 
articular and peculiar nds. To suport this, Lushington The svententh century Library
 (190:1) writes, ?As informational and cultral switching Th volution of th library from when it first came into being 
stations, libraris help t et the nes of individuals for to what it is tday is very cplex. This thesi wil only lok at 
infrmation requird to maintain a stisfying lifestyle.? the evolution of th library from whn it as alredy 
stablished as  type from round the svententh cntury.
 !
 !
 !
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 Fig 3 - 8 above lft shows the complex that houses the Laurenzian library in Florence.  Fig 3 - 9 above right shows the interior f the library 
space. One may take nt of the narow nd lng intrnl spce of the library. What is also striking is the labrat dtailing of th internal 
sc and boks tht are part of the furniture. Pictures from w.wikipdi.org/wiki/Lurentian_Library, cited 28/05/08.
Edwards and Fisher (202 : 03) say that most comentators 
note tht the library as we know it first curd in the The impact of the printig pres on the library is ignificant 
Rnaisanc with te Bibliotca Maltestina in Casena nd and cnt b ignored. As aid earlir, the printi pres is 
Michelngelo?s Bibliotca Lurenzina in Florenc shown i just one of the factrs that contributed to th growth of the 
fig 3 - 8 and 3 - 9 n pge 13. Thes tw xamples are library. The chnge in sttus and vlpment f the bok 
hihlights of the devlomnt of th modern library, nd also had an impact on the growth of the library as a type. 
they emerged on the back f the grwth of European Refring bck to fig 3 - 9 on page 13, on ses tht boks 
rationalist hought from the sixtenth cntury nwards. wr part of the furniture in th arly devlopment f the 
library during th Renaisance r. Thy had laborat 
Edwards and Fisher (202 : 03) say that the fortune of the covers acording to Edwrds and Fisher (202 : 04), nd 
librry folws that of the Renisnce musum and art wr minly persnal treasures that aded value to the 
galery. They er initialy al part of th sae building, with overal detailng of the spc, more like rt objects. Bks 
th library as a wing in the lrger building  on top of the bcm ore and asily avilabl with te invntion of the 
museum. Ptrone and walth playe a part her, and printig pres. Ms production nd industrializatin mad 
on understands tht the glery and librry initily the bok afordable an les f a status ymbol. 
devlop s ymbols of walth and sttus. They wer thus 
private instiutions and they devloped or gr togther When the library was til part of the art galery and museum, 
architcturaly and socialy. Th library, museum and art th building types devlped toethr rchitecturaly. 
glery in the Renisance ra  wer more ostntatious thn Whatevr evlomnts wr mad on one afctd the 
utiltarin. othr s thy wer in one building. Once th librry builing 
became indpndent, its evlopmnt o lnger linked to 
The typical rchitecture and technolgy at his time was not tht of th galery or museum, it grew and evlopd much 
so advnced. Nichs wer mainly used s storage nd quicker thn th galry and museum. This growth is 
disply spac as wel as being structural suprt system. acording to Edwrds nd Fisher (202 : 04) linked t the 
One may lso think th spc betwen wls was narow as grwth in education facilities and change in patronag. 
a rsult of shrt rof spans and uilding materils. As disply More funing from civic socities and bodis intersted in 
spces, the library nd glery wer not conducive to th wlfare of their societis bcme part f sponsors of the 
studying or ading, which explains hy they wer privat in library. Thy idntifid the lirary s being much mr 
the arly stges of their mrgence. Again, on my lso significant than the art galry nd musu, and as uch 
think tht th intrnal spaces wr hihly elabrated on t more of  vlubl hive of information and an esentil aid 
reflct personal tstes of trons. The interior spc was thus t higher learnig. Th bk then becme utiltarin n 
more conducive to spectatrship than active and intimate useful, but not n object of treasur lik art. 
engagement.
 Civic societis intersted in the welfare of their comunities 
Acording to Edwards and Fisher (202 : 03), the mergence also had a rol to play in th dvlpmnt f the library. 
of the library as istinct from th museum or pictur alry, Bks eling with subjects eed relvant to the 
di not ocur directly as a result of the invention of the devlopmnt and education of socity wr published in 
printig pres but as  consequnce f th growth in ratinal grat nubers, an mde avilable to the public in 
thouht. Edwards nd Fishr (202 : 03), go n t say tht he librries. Th lirry then bcme  public instiution as a 
grwth in eucation in the sevntenth and eightenth result. The printig prs as a tchnolgical inventin lso  
centuries split prt the library and museum as building had an imact in the devlopment f the library in that it 
typs. Man?s hunger for knowledge and infortion le to fciltted s production f boks and made them esily 
the estblishment f the library s an indepndnt avilabl and afrable. Liraries then could stock up 
instiution. So libraries .g the originl Royal Library of within short spns of tim. One thus s the influence of 
Alexandria in ancient Egypt dat as far back s the third technolgy and cultre in this stage of th library?s 
cntury BC. The printi res inspired further growth of an dvelpment. 
already growing instiution. One can thus ay libraries hve 
bn part f early civilzatin of mnkind. The library became specialized with time, and the growth in
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public libraries in the 17th century was marked greatly as acomodation became the elmental architectural 
discused. Edwards and Fishr (202 : 04) writ tht the lnguage f the lirary. Fig 3 - 10 and fig 3 - 1 show this. The 
public libraries er prt of the urban infrastructure and library building in this era was frestanding. Due to high 
wer normly found near industrialized res. This is wher industrialization activity nd advnced tchnloy 
th prductive urban poulation was concentrated, and charcteristic f the ightenth century, many solutins t 
the ublic library cme int being to stisfy th ns of  erlier problems wre asily solvd in the eightenth 
knowledge hungry socity. cntury. Th typical ightenth century plan had a lrge 
area for bok store within a smi - bsement. This was 
The 18th century library don mainly t facilitat aces for lirary usrs and relte 
Many discoveris wer done in the 18th century, and thes the librry building to its contxt in tht the most public 
inclue lctricity, atoms and many othr technolgical spaces wer always n the grund flor. 
advancments and inventions. Historical monts like the 
French revolution lso hapend in the ightenth cntury. The advantages of a frestanding building type of the 
Bcaus f al thes, ne is incline to think that because of librry is tht bcause windows could e placed on al wals, 
al thes chngs in lif and socity in genrl, thr was more natural light filtr thrugh te building and lso the 
lso a lot f writin and recoring of evnts and iscoveris air qulity ws improved because of cros ventiltion. On 
in tndem ith te hpnis f th time. Thus ther was my then conclud that this fr standing building type 
much knowledg produced and the dsir for mor gre creatd an environment conducive to reain and 
stronger an this may hve le to the 18th century intrcting with the writn material s wel s with ech 
devlopment of the librry. other. With te scholar t he centr, l focus as directd to 
him (no ladis) and his tatus also grew. The publicns an 
Edwards and Fisher (202 : 03) write, ?The great flowering of stature f the librry also grew s  rsult. 
the librry s a rcognizable building typ ocurd in the 
ightenth century. It ws thn that he library emerge with This independent and fre standing form of library meant 
its own taxonmy of forms, functions and tails.? Edards that it coul also be givn its own identiy as id above. 
and Fisher (202 : 03) g on to say tht he ome n cube - Entrnces could  elabrate to mke sttements, 
the formr as readin rm, the latr as bokshelf and windows and al other lments could also gt som
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 Fig 3 - 10 above lft and fig 3 - 1 above right show the xample of a dome and cube library. It is the Rotunda t he University of Virginia. Fig 3 - 
10 is the lirry as it is toay while fig 3 - 1 is an anlytic digram f the librry. Fig 3 - 10 is from w.n.wikpedia.org/wiki/Rtunda, cited 
14/06/08. Fig 3 - 1 frm Edards and Fisher (202 : 04).
elaboration to complement the overal language of the 20th century was highly orderd and formal. It in a way 
building. As a fre standing frm, the librry was also maintaind the strict an forml guise of discipline 
technolicly dvelope. New building materils and socite with larnig. Just as earlier, th vlution of th 
tchnlgies could alw for ider rof spns nd more library contiued nd practility s wl as functinality of 
structural openigs etc. Again, inventions like the air spce tk prceence over monumentality tht was 
conditioner and elctricity lso impactd n th quality of asociated with t arlir ra. Again n y sociate this 
the internal nvironment as thes becme part of the library with vlu atched to spce in the 20th century. This is 
in th ag of discvry s wl. another mnifestatin f cultre in the volution of the 
library.
 The 20th century library
 Th reading rom ws the focus of the late 18th and 19th Library of the futre
 century library, and this was dne minly to poeticaly Mny cmntators on libraries argue that the clasical 
suround one with knowledge s th boks wer arnged library type as dicused aov is dispring. Bruijnzels 
in a cirular fashion fl in the overal round pln of th (208 : 10) writes ,?Th old clasic library is disapearing, 
reding rom. The raders or usrs al gther in the space supersede by nw meia, the internet, new user concepts 
dfined by the boks. A snse of toethrns in th ursuit and othr marketing strtgis. Naturaly th bk wil 
of knowledg was frged by this cnfiguration. contiue on, but nw media wil demnd their place in 
library clections. The library colection wil b transformd 
In the twentieth century library, the rading rom became y this, bcming multimedial. Infrmation is n lnger 
an ntranc foyr and a spc for reflctin. This hd n linked to a sinle mediu nd this wil give a hybrid 
emphsi on the ntrnce, which at this time was granly charcter to the library of the futre.?
 laborated. Th rading rom then beca prt of the 
rectngular galeris that flanked th ntrnce foyer. Mor The libraries of the past and as discused earlier wer 
discoveris wr made, new tchnolgies mrgd, and domintd by th bok n their being, xistnc and 
the library gre. Specializd libraries emrged as a result. evlopment revolved around th ok. The library ws  
Som ecam srte roms within a biger library library bcaus f its bks. Nowadys th dominnce of 
building, wheras othrs becae independnt lirries the bok hs ben chalenged by the internet r the wrld 
deicated to  prticular sujct fil. wid web which as information also containd in boks, 
an radily avilble, mstly fre of charge. This has its wn 
The snse of scholarly togethernes created by the round or conveniences in that one can aces information t any 
cirular frm f the library disapr, and spcialist tim rgardls of plc and time of th day. As lng as one 
came to the for. Al the chnges that ocured wer has aces to the web, one can lg on to virtual librris, 
influnced by cultre and peopl?s use f the library. Th museums and many othr cultrl facilities tht wer once 
significance of th bok as wel had an impact on the strictly physicl. Wht his imply mens i that he library can 
overl form and spatil rgnization of the librry. Edwards now come to ur homes, our rivat workspcs nd with 
and Fisher, (202 : 14) write, ?Mnumental nd functionl the advancs in technolgy ne cn aces the library on a 
spces bcame distinct parts of the librry, with te grand clphone and thus cary th librry with themselves 
monumentl foyer signling th presnc of the whervr thy go.
 intelctual.?
 The internet has led to peoplels and usels libraries 
Edwards and Fisher (202 : 14) go n to say that until the mid acording to Mnaugh and Twily (208 : 08). Manuh nd 
20th century, th library was enraly clsicl in plan with a Twiley (208 : 08)  go n to sy because of this, the library has 
central rading rom bout which wer placed, normly dmaterialized: n lnger a loction, it?s now a metphor, 
on sub - xes, varius uject libraries. This ws th fr ost nothing but  poetic word t describe something that gives 
cmonly adopted aftr the public library movement f us aces. This mans that  th library f th futre should b 
the 1860?s. more of a service provider than  space ful of bks. To 
suprt this, Bruijnzels (208:10) says tht the internet nw 
One may also infer from this that the library building of the rovides a wide rang of cultrl information to al age 
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groups, exs and races. One just has to chose. This poses a that they must be designed to acomodate many 
bi qustion to the library as to whether it can ofer add functions as users? ns change with tie. Wht is rlevnt 
value in this situation of bundanc. This my simply be in this er my not be in the next.
 nswred by sying the lirry can, provide it also 
changs its focus and maintain quality information suply. The suces of the library also depends on its working with 
othr partners including rchivs, museums, art aleris 
The publishing industry as it di in the arly devlopment and other cultral n pedagoic instiutions. The library 
stags of the library hs lso transformd. Informatin can suprts, and is in turn suprted by thes instiutions s 
now be published in many difernt frats, elctronicly users of ne re on most cases usrs of th others. 
using th df forat tht on can download frm the 
internet, the rs feds and many other reily avilabl The libraries of the futre must be multifacetd in that they 
formats on - line. This hs  irect bearing on the librry s a must e places for consuption and cretion of cultre nd 
hive of knwldge, which is now not only fund in boks. knowldge. This gives them an extra dge and imnsion 
Manugh an Twily (208 : 08) rite that informatin and ver their predecsors. Agin, it plcs significance n 
information ces has moved elswhre. The rchitecture both t sourc and the consumer of knowlede. This draws 
f the library of th futre as  provider of sntial srvics n the openes of libraris t change.
 must also change.
 The people?s neds are very important in the overal 
Ther is a shift in library information and services towards the functinig of th librry. Comfort and user - friendlins re 
library of the futre. New ethos of sarching for thus of prime significance. Edwrs and Fishr (202 : 14) 
informatin hav bn icorporatd int libraries, nd thes suprt this by saying that the library is  place for people 
are technolgicaly advanced to make srching mor not boks.
 intrsting. Thus fun n inspiratin hv now becoe part 
of ne?s earch for information.
 On the library of the futre, Bruijnzels (208 : 12) writes, ?The 
library wnts t crat richns and surprise ith its 
colection, ants to tel stories. In so doing the library wants to 
bcome n inspiring surce f cultr insted of the 
umptnth information centr or caf? with newspapers.? 
Bruijnzels (208 : 12) goes on to say that he new library wil 
be a thatre wher new and ld stories wil b told. And lstly 
Bruijnzelz (208 : 12) ds, ?As a cultral entreprenur, this 
library wil make alinces and join othr organizations in 
relted sectors nggd in this prces - archives, museums, 
crativ industries - which wil strngthen nd supl nt 
the library?s function.
 Conclusions on the library devlopment
 One understands from rsarch that the library as a type 
and as an istiutin has chnged or volved from when it 
first surfced or cme into bing. Many factrs have 
influenc this evolution, ne can highlight cultr, 
civilzation and tchnlgy. Thr is  clear nd traceable 
devlpment as fected by thes factors. Libraries must  
opn to chnge in orr to survie. This opens eans 
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3.0 Technolgy and Globalization and Cultre modern storytelrs including modern museums and 
The concpt f loblizatin in which the world has libraris  with n-line facilties. It hus rvs as  link betwen 
bcme a global vilage fects al sphers of existence. al thes and wil not vr replace the presnc and 
One thus hs t dres isus relting to it in as far s this interaction of people at he plac for storytling. 
thsi is concerne. 
Also, as part of the concept of globalization, the 
Isues relating to globalization go hand in hand with phenmenon f branding and brands hs becme an 
technolgy. The internet hs made the avilbilty of isu of significant consiertion. Brns ar now using 
information vry asy as with just  clik, on cn get aces artist and music to markt and sel their stuf. Artist have 
t plces thousnds of miles away. Infrmation cn b lso becoe brands, to the fect hat for ne to realy mk 
easily transmite over the intrnet ith just  clik, to the it in th music inustry, thy hav to ride n th bck of ne 
xtent ht evn shping can owadys be done n-lin. big brand or identify with te bran. As mentioned befor, 
Howver, this does not overide the n fr one to this hs the fct of donplaying the significanc of artist 
physicaly visit h cultral ensmbl. Th xperince f ne and thir craft, music oetry etc. Artist re nw being 
visiting the storyteling plc on - line and hysicaly ar recognized s part of such brands, and thus their status is 
difernt. als diminished. 
The internet is sen as another technique of teling and The Cultral ensemble is envisaged as a place wher 
sharing storis that is brught about by technolicl storytelrs wil b sn for who thy ar, without ny brands 
dvncements. The cultral ensemle wil als be atchd to them and their apernce. Thus their sttus s 
acesibl on - lin, but not to such an xtnt tht this wil ntion builrs, role mols nd icons wil be rclaimed, not 
erod the ned to physicaly visit he plce. The on - line part at the xpense f the big brans, but cause thy are 
wil nly srv the urpose of markting and providing peopl with a positiv impct in the cretion of positiv 
information about h cultral nseble, as wel as  means cultre. Buildings  that house usic vnts are als brande 
f intercting with stories and storytlrs vilabl on - lin. with logos, sins nd emblms of such brnds socit 
ith music to the fct that they have ecome mre of 
Interaction with stories and storytelrs from the international decorated sheds. The cultrl nsmbl wil nt bco a 
world wil be facilitat by th cultral ensmbl thrugh crt sh to promote brands, ut if it does ecme  
infrmation tworking. Thus people wil be ale to easily decorated shed, it wil b so t the xpens f prooting 
share stries on-line because f th cultral nsmbl. The strytelrs an their craft.
 cultral nsmbl wil thus b up to the stndard of othr 
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 Fig 3 - 12 above lft is a lion used as a brandmark of the Lion King musical. Fig 3 - 13 above right is another trademark used to market he Lion brand of 
products. th of thes wer inspired y the lgend f th lin fro cultrl stories. The lin brand tday sponsors ny art cptiions thrughout 
Suth Africa. Fig 3 - 12 from w.disny.go.com,  cite 25/06/08, and fig 3 - 13 frm ww.lionmtch.com,  cited 23/06/08.
Again, because of thes big brands torytelrs, especialy The building wil thus be inclusive to al people of difernt 
musicians hv thmselves becm brands. In so usr groups, i.e disald etc. This wil thus rinforc its 
becoming, they are now bing sn as consumables like publicnes and aceptnc to al  as  public place. Public 
any ther brands. In this case, they ls find theslvs amenitis like public toilets and utdor water fountains wil 
compting with such big brnds. Being ientifid with lso be part of the spce both inside nd utside the 
brands i not a god social ct, as it may lad socity to think cultral nsemble.
 wht is nt riht abut such brnds. It must be said at this 
point hat in South Africa, brands actively involvd with some Slesor (201:36) says ?The xistence of public life is a 
artist nd their craft, especily jaz music, are ainly prrquisite to the dvlopmnt f ulic space.? 
lcohlic bvrage brands. As role odels, th rtist s Comunal nd evryay activities draw people to sc 
strytelrs er  socil respnsibilty as they have a and plce, n thse wil thus b lod t take place 
significant influence n thir admirers. Th cultrl insie and outside th building s as to enhnc this 
ensemble is th plac for them to cret nw cultres for the concpt of public space. Thus, one would find spaces for 
history of the futre. This at th prsnt time il also creat entertainment just outsid the building as wel as c fr 
meries of the place just s uch meoris wer crtd othr ctivitis which may inclue informl trding as wel 
in th past through storyteling. Giving back to the as public seating in the form of bnches, plinths etc. Vrious 
comunity wil also help in resuscitatin the status of stial expriences ar thus t e catrd for, and this wil 
strytelrs in the glbal world of today. enbl ol to invest meanigs nd make conections 
with te place. This is on spect of public spac that this 
3.40 Public Space thesi sks to promote.
 Storyteling is a socil phenomenon, and as uch publicnes 
and public spce ar vry iprtnt isues relating to Slesor ( 201:36) goes on to say that when public life and 
storyteling. Placs for storyteling are thus public plces, and space are lackin r neglected, peopl bcome isolte, 
the cultral ensemble is no difrnt. Car (192:0) ses eroding ny sense of comunal sirit and chsin. Th 
public spc as, ?Th comn ground wher people cary intrvention of this thesi wil enhnce togethernes that wil 
out the functional and ritual activitis that bind  enrich public spac.
 cmunity, whether in the norml routines of dily life or in 
periodic festivitis.? One thn reads public space as  stage 3.50Hearing Architecture
 un which storyteling takes plce. Creation of n  architctur that responds to the senses is 
th min target of this thesi. Rsmusen (1962 : 25) asks if 
The cultral ensemble has to adres the neds of public architecture can be hard, and gos on to sy that 
space and public lif. Cr (192 : 03) writs, ?Public sace is ?Architctur is heard when the r ecives the impact of 
the stge uon which te drama of comunal life unfolds.? both te lngth n th cylindrical form of th tunel.? The 
This is thus the space for l to cexist and interct scialy. tunel is used as a spatil example in this case. This also 
This thesi sks to prmte the togthernes of society by implis that structures hv coustic qulitis nbling 
creating an envirnent conducive to al public activitis of eole to sociat such structures with particular sounds. 
coxistin nd thus nabling th crtion and mingling f 
cultre. Everyone wil hve a place at he cultral ensemble, Again, the nature of materials impacts on their acoustic 
with ampl portunity to ngg in th vrious activitis propertis nd thus ks th either suitabl or unsuitable 
taking lace. fr crtain purposes. As an exampl, one may use hrd 
sound reflcting surfaces for an uditriu. The hrd soun 
Car (192 : 04) goes on to say, ?In al, comunal life is a reflcting surfaces wil crete a very unplasnt music 
dynmic balnc btwen public nd private ctivities. nvironment nd alienat pople from such  plce. What 
Within this lance, difrent cultres lc difring this thsi seks to chiev is t create a musicl 
emphasi on public space.? This, in th context of this thesi, environment in which the materials used compleent the 
i lies the ned for the space created t b responsiv so nature of the space in qustion n nhanc such a 
as to nabl pple of difrnt cultrs to idntify with te spc?s charcter. Asthetics and acoustic performance 
plce. It wil thus b a place to se and be sen as activ are also t enhanc the nature of the spce.
 engagment with te lc and spce wil b cterd for. 
19
 3.0 iSSUES                       .                       .                       .
      
iSSUES                      .                     .                     .
3.60Architecture as instrument
 Another theme that this thesi adopts is that of loking at 
architctur as  musical instrument. In this perspective, the 
instrument does not produce usic on its own, but nds a 
player or playrs t manipulate it in rder t produce the 
music. Nature nd the peole wil constiut the musicians or 
usicl instrument  layrs. 
Nature through its various cylical nd seasonal changes 
wil manipulate the instrument o vrying gres in difernt 
seasons and priods e.g day and niht. This xperinc of 
th building as a musicl instrument wil thus b mre 
temporal than spatil. As the sun shins onto the building at 
difrent times of the day, shadows are cast onto the 
building to varying dgres, an they r cst with specific 
shape, height n patrn. The ovral form of the building, 
s wl as the placement and arngeent f elmnts that 
constiute th ovral form plys a ky rol in this isue. Sun 
shading dvices re also art of this. Al thes shadow 
pterns crat rhythms, hrmnies, mlodies nd 
countrpoints l throughout the day and thus giv the 
building an experince f music through time.
 The mon is another player of note, and coupled with 
artificial lighting frm the building wil lso give the  builing 
this experince of a usical instrument through time. This, 
could with clrs used in the building as wel as glazing 
paterns il create a musical xperince difrent to the 
dytime xprinc.
 Movement of the people within the building wil give the 
exprinc f th building as a musical instrument in that 
th vertical movement structures, e.g lifts nd escaltors, wil 
also cast shdws onto the buildin with spcific paterns, 
shpes n epths. The movment of the eople within the 
building themslves  wil als ad t  this xprinc. 
20
 3.0 iSSUES                       .                       .                       .
      
iSSUES                      .                     .                     .
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 storyteling & oral history
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 4.0                   .                   .                   .                   .             
2
 Storyteling and Orality storytelr  with te audience intimately. Storyteling is thus a 
Tnkin (192 : 03) writes, ?Orality is the basic human mode of very important prt of human life, not nly bcause it brings 
comunication, and although poples al over the wrld pople tgether, but also becus it is cultral. 
nw use literte mens t represnt stnes, and riten 
records hav xistd for many hundreds of years, th Miler (204 : xi) tels that storyteling is an ancient craft hat 
busines of relating past and presnt for social ends hs for can be traced back to prelitrat times. This is not surprising 
most of th time ben done oraly: it stil is o.? One then considring from bv tht orality is the basic form of 
understands fro this statmnt that comunication is cmunicatin. What one infers from this is tht stryteling 
multifcet. Cmuniction is a mens f interacting and is as old s mankind nd comunication. Storyteling was 
exchanging inforation, and it is through comuniction minly one orly in ancient times becaus then the 
that knowlede is gther n imparted. technolgy rstricted it o rlity. 
As said above, comunication is multifacetd, and this Miler (204 : xi) writes, ?Storyteling is a magical and 
simply mens that her are mny ways of comunicating powrful craft. Not nly can it transport the udience on  
phenona. Storis r one of the any wys of thriling journey int an imginry wrld, but it can also 
comunicting r transmiting infrmation, whether it is reval dark scrts of huan ature or inspire the udience 
abut life in enral, pst evnts or evn pure imagination. with te esire to d noble deds. Stryteling can also b 
Tonkin (192 : 03) sys, ?To tl a stry is to tak rs inst presd into srvice fr mor utiltarin oals: to teach, 
the threat of  time. . . the tling of a stry presrves the tler romote and t train.? 
from oblivin. Told as it must be t  secific tim and in a 
phase f irevrsible tie, th tale itslf creates  specil Ther is a relationship betwen the story and storytelr. The 
tim, ?a tim outsid tim??. Tim is of th snce in the storytelr is  nartiv artist, and the skil n nvlty with 
teling of stories. This ay be the tie that  story taks one to, which e tls tories reltes him to th audience in a very 
or the time that  story is ing told. The strytelr is als a significant way. Thr is a status atched to th storytelr as 
very iportnt part f the story being told. Som stories re a result. Becuse storyteling cn b utiltarin, strytlers 
historical, and being so as tld y peple who witnsd hv always bn sen as important people rverd in thir 
evnts hpen concretize the mont and ad elments societis nd comunities. Se wr sn as ucators, 
of truth to th stris whil siultaneously rlating the mtivators, entertainers and historians. They becme 
4.0 ORAL HISTORY AND STORYTELLING          .          .            .          .
      oral history and storytelling          .          .          .          .
 Fig 4 - 1 above lft is one of the many depictions of Eros, the Grek god of love lust and intercourse, and fig 4 - 2 in the midle is a depiction of the 
Thoklosi. Fig 4 - 3 t th right is  depiction f Zeus disguisd as a swan and sducing Lda. Al ths pictures as dpictions ar ictins f storis that 
are peculiar to cultres.  Fi 4 - 1 an 4 - 3 from w.storiesforchnge.net, cite 28/02/08. Fig 4 - 2 from w.funkymunky.c.z,  cited 25/02/08.
23
 4.0 ORAL HISTORY AND STORYTELLING          .          .            .          .
      oral history and storytelling          .          .          .          .
 Figs 4 - 4 (top left), Fig 4 - 5 (top centre), fig 4 - 6 (top right), fig 4 - 7 (botm left), fig 4 - 8 (second from botm ), fig 4 - 9 (third from botm left) and fig 
4 - 10 (btm right) are al rck aintis by the San eople. Thes are just on of the many ways that he San people rcore and tld thir stories. Al 
pictures fro w.trvlersrest.co.z/rock art.  Cited 13/1/08.
 lft
 comunity builders.
 Even African stories have famous charcters that may be 
Cultral practies in many societis al over the world centre likd, fered, idlizd nd evn hted. To highlight this, 
around stories pculir t thm. Ths storis not only many Southrn African cultrs have comn stories of the 
shpe such cultres, but they have als cemented the Thoklsi/ Tikolshe, fig 4 - 2 on pg 2. This Thklsi is 
being and ientiy of such cultres. One may lok at th typicaly describd as a tiny midget of an old man, and is 
Grk s an xample, fig 4 - 1 and fig 4 - 3 n pge 2. normly asociate with witchraft. Flklre nd rel life 
Charcters fro Grk cultrl n mytholgical stories stries feture this charcter idely, and vn toay thr 
atind vry significant status in society. Sme like Ers th ar rportd stories or incidnts whre people are leged 
god of love, rew to be worshiped and iolizd by society. to have ben traumatize by the Thoklsi chrctr. Most 
The wrshiping of Ers and many other gds an idls from f ths stories hve lments of witchraft in them. This 
th Grek mythlgy helped in shapin the nation and Thoklosi has suprnatural powers, and mny traditional 
giving it a particular idntiy. Some cultrl practies dctrs, wizrds, witches nd mdicine en re sid to 
became deicted to such charctrs as  result. poses such charctrs in their aily administration f 
24
 4.0 ORAL HISTORY AND STORYTELLING          .          .            .          .
      oral history and storytelling          .          .          .          .
 Fig 4 - 1 above shows modeling of wild animals using cloths and rags. This is just one of the many aids of storyteling. Picture by author
 evryday lives. They have come to be feared and experinces from place to place difers. Thus one way of 
rspected, as wl as dspisd in thir cmunitis. storytling rveals othr stryteling ways.
 Man was born with te capcity to imagine, and it is through Another storyteling aid typical in African societis is that of 
imgintin that on tches i es to chracters frm mdling. Originaly cly ws used in ncient imes, but he 
stories. This imgery often gts depictd in drwings etc, discovery of ther materials incluing cloths bcame part 
and some of ths dpictions lik the ones iscusd in of strytling as wel with the pasae f time. It is lso 
pge 2 become ermanent identiis of those story cultral, e. in the Ssotho cultre ldis and girls normaly 
charcters. crete dols from rags etc, whil boys o cly models. This 
hapns at ? antlonng? hich is wher the bys and girls 
What hes depictions discused above and earlier show is ly house. Fig 4 - 1 below shows modling using cloths and 
just on of th many ways storis cmunict and are other mr modern materials. This odelin is als use 
conceived. Thes depictions help in visualizing chrctrs difrntly by ifrnt socities to ai storyteling. Almost 
and thus atching images t story charcters. This in a way anything is modeld: idls, gds, animals etc, and the 
is imgintion and hlps one in engging with te story. modelrs asum a certain status in the comunity as 
Africans have ben using aids to comunicate storis fr strytlrs because it ks ome special skils t ake god 
decdes or vn centuries, n thes include mthds like models. Som of thes dls become permanent 
rawings r depictions discused above an arlier. identiis fr the charctrs moeld.
 One may lok at the San people as one of the arliest 
inhabitnts f the southrn art f Afric. Th San or Khoisn, 
as my be rfrd t have lived in most Southern African 
countris. In al thes countris, thy have lft storis of their 
lives in the form of rock paintigs as en on figs 4 - 4  t 4 - 10 
on pag 23. Fr thes intis, w larn about heir lives, 
prcties including rligion, batle and cultre, as wl as 
other storyteling practies. Their movement pterns nd 
history ar also lernt from country to country, as their 
25
 Storyteling and the city speaker apropriates and takes on the language).?
 The city space is public place, and as uch without meanig What this means is that active ngagement of the city 
on its own. Pole ropriting the city spac give spce by th pople is  storytling. The city and its buildings 
meanig to it. T suprt this, Leach (20:129) writs without peole is lik a silent, mute or vn bsent storytelr 
?.spce is practied lace. Thus th stret geometricaly in a theatr r place for storytling. This also highlights the 
defind by urbn planing is transformd int space by significnce of eopl in revalin or evn givin meanig 
walkers.?  Taking this notin further, people aropriate to place. On thn undrstnds th nd to engag with 
spc by fmilarizing themselvs with th city thrugh the city space in order for ne to be a storytelr. 
habitual oveent in spac. This constiutes spatil 
nrtives as popl walking in space are acting out in 
spac. Thse satil nrtives are stil storis. 
Leach (20 : 129) agin writes, ?A spatil story is in its 
minimal degre a spoken language. . .? he ges n to say 
?The city turns into  thatre of ctions, nartivs of spce, 
pdstrian spech cts: it is an apropriatin of th 
toolgicl systm on the part of the edestrin (just as the 
4.0 ORAL HISTORY AND STORYTELLING          .          .            .          .
      oral history and storytelling          .          .          .          .
 Fig 4 - 12 top left, 4 - 13 top right, 4 - 14 above lft, 4 - 15 above centre and 4 - 16 above right show people ngaging with te city space and thus taking 
part in strytling. Fig 4 - 12 by author, fig 4 - 13, 4 - 14 & 4 - 15 from Scheburg (207 : 21, 4, 15) rsctivly. Fi 4 - 16 from ?The Mil & Guarian? dted 
My 30 to June 5, 208
26
 Oral history and social construction
 Interviews re widely used in the recording of oral history, Arguments relating to the validity of information obtained 
and acording to Yow (19 : 04), this has led t rl histry fro oral history are rif with some peple nd historins 
being refre t as life history or the recored in - depth disputing oral history records as ostly unreliable and 
intrviw to cut  long story shrt.  On undrstans thn fictiious. T the defns of ral history, ral historins y tht 
that oral histry is tryteling as history is about pstnes and oral history is mainly used t discver hbitual thinking, and 
pstnes relates to incidnts tht are stories as en tody. dismis the significnc of ates in oral history s opose to 
writen rcords. What is f significnce in ral histry is thus 
As storyteling, oral history has also ben part of iliterate th vnt, acording to Yow (19 : 2). Yow goes on to say 
societis for a lng time. Even literat societis hav hd that ?History des nt lie utside human cnsciusnes. 
grat oral history traditions. South Africa as a pluralistic History is what h popl who liv it ke of it.?  
society lso had an stil has a rich tradition of ral history. 
Th plurality of South Africn society implies huge rifts in Again, oral historians highlight he strengths of ral history as 
cultrl prcties and social mery. being special s related or compard with writen histry. 
Th conflicting acounts f indiviuals about th same 
Because oral history is asociated with how societis evnts make orl histry layer nd rich with personl 
rmebr, ne can then sy tht oral history is linked with anecdotes f such evnts. This opens up rom fr 
orialization. South Africa?s plurlity agin implis a imginatin and symbolism in the intrviewer r one 
fragmented nd imbalnced social meory. Findley (205 : acesing orl history records, and maks oral histry 
12), suports this y sying ?..rl histries ma up the records interactive in atur. Orl history ls fils gaps in 
bulk of merialization among the non - white poulation rcre or writn history with personal counts of evnts.
 of Suth Afric.? It must be hihlihtd her that this qute 
refrs to the aprtheid ays in South Africa when the non - Oral history is formed from the personal reminisces of people 
white pultion was denied aces to most public who wer participants in or witness of th vnts r 
instiutions of meory incluing writn recrds of their experinces they recount and informatin obtained by 
history. They wer thus frced to resort o ral history as  way intrviwing mthods and recorde verbatim by one 
of cmunicating and tling thir life stories. Storyteling means or another. This is cording to Lance (1978 : 02). It 
thus became  way of comunicating thir history. thn flws that the colectin and string of oral history 
4.0 ORAL HISTORY AND STORYTELLING          .          .            .          .
      oral history and storytelling          .          .          .          .
 Fig 4 - 17 above lft, fig 4 - 18 in the midle and fig 4 - 19 to the right show actions that constiute oral history. Fig 4 - 17 and 4 - 18 are from (Joburg, (A 
brochure f th City of Johansburg Municipality) 205 : 63, 81 respectively. Fig 4 - 19 frm w.fricamasterweb.com,  cited 20/6/08.
27
 4.0 ORAL HISTORY AND STORYTELLING          .          .            .          .
      oral history and storytelling          .          .          .          .
 Fig 4 - 20 top left, 4 - 21 top centre, 4 - 2 top right, 4 - 23 botm left, 4 - 24 botm centre and 4 - 25botm right al highlight people?s actions that lso 
constiute strytling. Thes may b individual or colective. Fig 4 - 20, 4 - 21, 4 - 2, 4 - 24 n 4 - 25 fr (Joburg, (A brochur f th City f Johnesburg 
Municipality) 205 :  91, 69, 29, 49, 6 respectively. Fig 4 - 23 from w.independent.co.uk, cited 30/5/08.
 hinges to a great extent on technolgy, in which te use of An archive aproach to ral history requires pecial skil and 
tap rcrdrs, vido recrdrs and many others is mst colbortion betwen librry and archivs stf with 
imortant. suject specialist. This informs the librrins and archivist 
as to how rlvnt certain subjects are in as fr s historical 
Of late, digital recording formats, e.g mp3, have ben recrdings are concerned. Thus the reflction nd 
discovr nd ls provide fr es of storage nd acs uncoverin of nw information as far as history and past 
of ral history records. This maks life f pepl acesing evnts are cncerned is prmunt in the clection of rl 
such recrds asier, whether it is don for lisure or study history mtrial. Lance (1978 : 05) writs, ?An aprach 
purposs. Museums and libraries as wel as rchivs are the cmbinig depth nd bradth involves flexibilty; within the 
main laces for storing orl history rcords, with rchivs suject area of the project, informatin should e rcord 
being employed t a fr reater xtent. about ny intersting vnts r activities which t infrmant 
prticipated in or witnesed.?
28
 4.0 ORAL HISTORY AND STORYTELLING          .          .            .          .
      oral history and storytelling          .          .          .          .
 This flexibilty is the abilty of the librarin or archivist to 
meting the demands of a wid spctrum f users; scholars 
or the ducatd public, n it requires a high levl of 
preparnes n resarch into th subjct mter as it may 
nd u not meting ny of the demands. Lanc (1978 : 06) 
as, that in th quest  satisfy a wide spectrum of users, the 
rchive must as wl contin resarch mthods as wl as 
identiy detils of the infrmant. This akes it esy for the 
scholar who neds to judge the quality of his ourc.
 Fig 4 - 26 above is a picture from the South African claymation movie 
tiled ?Tengers?. This movi adress isues of rl history f the 
morn day post aparthei Gautng. Picture from ?The Mail & 
Guardian? ted My 30 to June 5, 208.
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 5.0               .               .               .               .               .
Storyteling is a cultre, a means of comunication and ensemble. As the main storyteling space, it is wher one wil 
interaction. As uch, it is prt of  lifestyle including fshion find storis and storytelrs. Th storytlrs are prfesional 
and veryday isues of making a living. It is aparent then an csionl nartors including the visitor s wl. Visul 
tht th cultrl nsble should in a wy celbrat al links aid aces to the stories and also aid meory and 
thes aspects that storytling encompses. Storyteling wil identifiction of stris. Ths visul links includ bjects 
thus grow to achiev the status of a religion. Al elmnts that med t have a social value and colective as wl as 
are key in the storyteling phenmnn as a cultre should personal valu with stries linkd to them. Thy lso include 
thus b th main lments of the cultrl ensembl. This wil graphic represntations of charctrs, especialy from 
make the cultral nsmbl th ?plac? and home of folklore and cultrl stries. It is envisaged that people wil 
storytling. dnat items for display and thus hr their stris. They 
thus for part f the rository of stories, and one may also 
In formulating the program for the cultral ensemble as a say the visul inks ar a visual rchiv f stories. 
place for storytling, buildings with a similr function wer 
studid and anlyzed to inform this progra. Peple in th Within the Kholumolumo Hal ther are also recording and 
storyteling industry as wel as acdemics wr also listenig boths fr public cs. This is whr stries re 
cnsultd. Boks of stndards in terms of spatil demnds colcted and wher agin one can iteract ith an absnt 
and sizes wer als use, thes include the SABS 040. strytlr. Spcs are lso prvide within the min spce, 
and thes also provide acs to live storytelrs. Thy 
The program of the cultral ensemble incorporates: provi difernt levls of intimacy with t strytlers and 
als animat th space. Se re raised of the flor so tht ?Kholumoluo Hal (Nartors Hal) 
ces is gined by climbing to such spacs, and mre ?Sedibeng (Librry)
 spac is creat underneath such spaces s wel. Difernt ?Mantlwaneng (Children?s Section)
 seting arngements wil be provide in the space as the ?ultimedi Centre
 siz and vailbl space dtrmin. Difrnt stings r ?Inforation entre
 crete by the conglomration of al thes spaces and as ?Galery/ Events Space 
such intraction is faciltted t  lrg dgre within this ?Dimo?s Den (Caf? Restaurant)
 main spce. This becoms the space for imaination and ?Bok and Video Shop
 eory.?Cinem
 ?Services Space
 Sedibeng (The library) means ?the spring,? in the cultral 
nsmle is whre one would find and interact with stories in The Kholumolumo (Nartors? hal), named after the 
bok forat. Audi and text boks re avilble fr public Kholumlu, a very huge animl from th Sotho flklor 
use her. Thes boks ar stacked th convntional way stries that is legd to hv swalwed al peple in ne 
libraris work, but ecuse of th auio frmat being prt of vilag, is th main stryteling spac of th cultral 
5.0 Program            .             .              .             .              .    
     
Program             .             .            .            .            .          
30
 Fig 5 - 1 above lft, fig 5 - 2 second from left, fig 5 - 3 third from left and fig 5 - 4 far ight are storyteling digital ids. They do not substiute people, 
but provide fr ase of acs t stries and recording stries. Al imes from w.serch.yaho.com,  cite 25/06/08
the stack, it links with the multimedia section wher one literacy clases for people within the Newtown precinct 
could go t listen to the storis in auio boks as nartd by including cr park marshals, tret vndors and cleanrs, as 
recred nartrs. Thus peple with sight impirments and wel as students nd peopl living within the prcinct. It 
audio prfernces are also catrd for her. Again bcuse adpts to bing a homwrk help centre for students as 
this is a plac for intrction, ther is space for casual wel. 
seating tht peple can recnfigur to suit thir desired 
intrction. Los sts faciltate this. Even the flor is Dimo?s Den is a caf? - restaurant amed after the canibal 
hospitable and comfortble nough for peopl t sit. i  from the Sotho flklore stories. Dio hd a pnchnt 
Frml studying or eading is also prvide fr in the rading for eating human flesh and was als a socilite who 
ro which creats  peceful an quiet environment. atnde ost cultrl n privte festivities in his 
Sedibeng is thus vry user frindly nd welcoming t al. comunity. He thus mingled with is ?fod?. This part of the 
prgram ofrs pace for igesting the stories while it also 
Mantlwaneng or children?s section caters for children?s acts s nther stg fr storytlin. Ptry and stand up 
stories. This is wher thy wil tl and b tld storis by comedy wil b a daily evnt hosted her. Agin, it is 
strytlers including folklore stories n many others. They envisaged to have ily cultral menus from any difernt 
wil also watch films and intract with charcters mad from cultrs  as t draw people fro a wide spectrum. This wil 
the stries. Their creativity il also b teste and be on a rottionl bsi. This art is mor of an ntertainment 
strngthnd as they wil also crete r draw charcters ar s it deals with storyteling fro a lighter sid.
 from stories, thes could ls frm part of the visul mtrial 
in the Khlumolum (nartors hl). It is a vry interactive The Cinema provides a conducive and comfortable 
spac for children with difernt spatil qulities to nhnc nvironnt for rganizd n larg uiences fr ovi 
interctivity. watching. It seats bout two hundred popl and is 
cousticaly trtd t respnd to strict emands for such 
The Multimedia Centre links with al other spaces as al envirnments. It also rsons technolgicly as tel - 
digital storis cn b acsed her. Ther ar on hundred  conferncs, privte  lectures and sminars, beuty shows 
internet ready computers for public aces at any givn and al forms of rganizd gthering are comodated 
tim. This alows comunication with th outside world her. Night schols for biger groups are lso 
through chat rms, frus, blgs and al onlie mans f acomodated as wel. This facilitates meting and 
cmuniction. Also, audio visul mteril can b plyed couniction from any difernt usr groups s 
on cd as wel as being viewed on dv screns avilabl crporate ntiies can also rent h space. Storyteling is after 
her. This part is n xtnsion to the thers and also networks al used for motivting prduction at h wrk plac. Church 
th place with te outside wrld. servics can also haen in her s el as  comunal 
tlvision wtching.
 The Multimedia Centre can also be used for computer 
5.0 Program            .             .              .             .              .    
     
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31
 Fig 5 - 5 above lft, fig 5 - 6 to the right, fig 5 - 7 third from left and fig 5 - 8 to the far ight are multimedia devices aiding aces to stories and 
found in th multimedia centr. Al imaes from w.search.yho.com, citd 25/06/08
The Information Centre consits of iften search computers 
only used fr searching and nt working on. Thes rovid 
infrmation about storyteling to the user within the place. 
Again, interctin with pepl is facilitated by th 
information oficers ho also are storytlers. The 
adinistrtin dpartment nd fics frm part of this 
section. Ther are eranent ofices and bordrm for 
daily veral runing of th place as wl s rentable ofice 
spce for storytelrs, visiting cdmics and al.
 The Galery and evnts pace is a multipurpose space open 
to spontneity. On a norml dy it is an n sc with 
cultral stratgy gmes like morabrba/ umlablab 
marked on the flor surfac. Children and dults like re 
drwn t showcase their skil in such activities hr. 
Moreover, this pc can b rented for privte and public 
exhibitins as wel, thus it adpts to function. It lso raws 
pople from  id spectrum.
 The bok and video store is a story shopers delight in that 
on can buy boks in txt nd audi format as wel s 
charcters like Mickey Mouse from stories tc. This i for those 
who want o wn storis and such clctions.
 Genral suport areas include quipment stores, archive 
storage, ublic tilts nd srvic ros, wrkshops, HT/LT 
rms and genrator om. Thes help in the organization of 
space n aily runing f th plac.
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32
 Fig 5 - 9 above lft is a digital scren typicaly used for cinematography and presntations, fig from w.search.yaho.com, cited 25/26/08. Fig 5 
- 10 to the right is a represnttion of children?s tories n xnphbi. Such islays wil be fatured in th glery space. Pictur from ?The Mail 
& Guardian? dted May 30 to June 5, 208.
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Program          .          .          .          .          .          
SCHEDULE OF ACOMODATION
 Space          QuantiyArea(m2) Space          QuantiyArea(m2)
 KHOLUMOLUMO  HAL
 Story Hal 1    2 0 BOK & VIDEO SHOP
 Recrding both 3      45 Store 1      30
 Listni th 4      60 Shp sace 1     170
 Personal cubicles 8      30
 Archives 1    250
 CINEMA
 SEDIBENG Seating 1    20
 Information desk 1      05 Projction 1      25
 Staf desks 1      30 Scren area 1      30
 Stck ara 1    30 Toilts 2      70
 Reading rom 1      75 Stage 1      75
 Csul seating 1    10
 MANTLWANEG GENERAL SUPORT AREAS
 Video space 1     40 Equipment Store 1    10
 Bok Stck ra 1    120 Archiv Store 1    10
 Interaction Spce1      40 HT\LT 1      15
 Story Rm 1      50 Genrator Rom1      15
 Public Tilets    150
 MULTIMEDIA CENTRE
 Computers (work) 10   150
 D Playrs (audi) 10   10
 V Monitors 10     60
 Server Rm 1      40 Kholumolumo Hal     60
 Selibeng     53
 Mantlwaneng     250
 INFORMATION CENTRE ultimedi Centre     350
 Computers (info) 15     20 Inforation ntr     260
 Adin   1   10 Galery/ Events Space     40
 Rentable Ofices 10     90 Dimo?s Dn     350
 Bordrom   1     50 Bok & Video Shop      20
 Genral suprt areas     380
 GALERY/ EVENTS PACE 1     40 Cinm     30
 Total Area   3625
 DIMO?S DEN 30%Circultion Area   108
 Bar/ Counter 1      35 Total Building r   4713
 Kitchen/ Prpartion1      75
 Storag 1      70
 Setin 1     170
 3
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 6.0            .            .            .            .            .            .
The Republic of South Africa, poularly 
known as Suth Africa, lies n the 
suthern tip of the fricn contint,  
and on the westrn side f it is the 
Atlntic Ocan and to th east is th 
Indian cen. Fig 6 - 1and 6 - 2 show 
this.
 Fig 6 - 1 locates Africa in the global 
context, and Fig 6 - 2 locats Suth 
Africa in the African context.
 Fig 6 - 3 is a map of South Africa in 
isolation. 
South Africa today is divide into nie 
regional prvinces, namly Gauteng, 
Limpo, Mpumalng, North - Wst, 
Fre State, Ntl, Western Cape, 
Nortrn Cp and Eastrn Cape. 
The site for this thesi is in the Gauteng 
provinc, and th location of the 
Gauteng province is highlighted n fig 
6 - 3. The map of Johanesburg, the 
exact location fr the thsi site, within 
this prvince is hown on fig 6 - 4 on 
page 36 and the sites cnsiderd fr 
this thsi re shown i figure 6 - 5 an 6 
- 6  on pag 38 respectively.
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 35
 N
 Map of Johanesburg on page 36
 Fig 6 - 1. Global map Showing Africa 
in the gl l context. Map from 
w.mapsofwrld.com.  Cited 
20/2/08
 Fig 6 - 3. Map of South Africa showing the 
provinces in clur cdes. Courtesy of A 
(Autmobile Asociation) of Suth Africa.
 Fig 6 - 2. Map of Africa with South Africa 
hihlighted. Map from .maps.com. 
Cited 20/2/08
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siting         .         .         .         .         .         .
 36
 Alexandra
 Sophiatown
 Newtown
 Soweto
 Fig 6 - 4. Map of Johanesburg at presnt. 
One notes tht Jhnsur is divid into 
administrative rgions. 
Map from Bremner, L. J (204 : 10)
 Search for a site Sites in Alexander, Johanesburg and Soweto wer also 
considerd. Evntualy th sarch for  site as cnfied t 
This thesi is roted in the phenomenolgical qualities of Sphiatown and Johnesburg.
 storytling an architctur as culturl tols f 
cmuniction nd expresion. Johanesburg?s centrality is a very strong quality as 
Jhnsur is not nly centrl to th townships, but it is the 
The first point to start was by considering the township, econmic and scial hub of Southern Africa with its divers 
particularly Sphiton, hich was poular fr its rich mix f poultion rces and cultrs from l over the world. 
lifestyle in the artheid era, nd it s a lce for creation It is thus trngly favour s a place with a grat potntial 
of storis thn. One may lso say Sophitown is a stry itself. as one just has t tp into the xisting cultres in rder to 
realise the concept of creating a cultral place. Fig 6 - 4 on confied to originaly black townships, but spread al 
pg 36 shws th lctions of plces initily xplored as thrughout Jhanesurg?s suburbs and the city. This 
otential sites. From this map, ne clarly ses the cntrlity masive xodus of th people from the townships cals for 
f Jhnsburg, especily Nwtown, which is the xact cultral facilties t be cntral nd asily acesible t al 
location i Johansburg wher site searching hapned. places in nd around Johanesburg.
 Fig 6 - 5 and fig 6 - 6 on pa 38 show the sites considr, 
both in Sophiatown and Johnesburg. With te Urban Regenration project of Newtown, one finds 
new dvlopmnts like the Brickfilds Housing prjct as 
To come to a conclusion as to which place is the most atmpts t bring peopl to live back in the city, esecily 
relvant in terms f siting, the cultral qulitis of th places Newtown. With tis influx f popl into th city thr is great 
wre praount in the slction. The City was evntuly nd fr facilties providing entertainment and recreation to 
chosn to be the idal locatin bcause it contains al the city?s new inhabitants. Th site in Newtown is mre 
significant cultral ingredients, especily Nwtwn, with its suitable in this regrd s wel. Building in Ntn would 
rich cultral history n its prsnt cultral facilties. Ading introduc varity of activitis aroun the clock, and as uch 
more cultrl facilties to this place would thus create a cater for  wide brcket of the pulation. 
divrsity of unctions, and as uch ctr fr a wide spctrum 
of the pulatin. In sumary, it can be said that Newtown is within easy reach 
to al s it is within th city nd nar public transport fcilties. 
Newtown as a cultral center has a very long history of the It is gain ithin a sfe urban environment.
 strugle of the por inhbitants of th ara frm when it first 
oriinatd as Brickfields. Brink (194:32) writes, ?Although te Newtown today
 authorities tried to kp the people aprt, poverty and th tn, s erlier said is one of the arliest non racial 
ned t survi in the city brught them tgther.? This is areas in Johansburg. Much f th rly histry of the 
highlighted by the many times that Nwtown has ben plc as a plce for al has ben wiped out evn thugh 
derlict but sprang bck to lif. One may cmpre this lif traces cn stil  b fund tody. Many histrical buildings are 
an death of the place t a fictiious tory or folklor story stil standing evn up t this dy, and they inclue th 
chractr. Sphiatown ws destryed and rebuilt as a Turbine Hal, now convert to n ministrativ ofice 
completly new lce, and in th procs lost its vie, which complx, nd many thrs. Cupled with thes histrical 
is nt h cas ith Nwtown. edifices, one finds new devlomnts like th Brickfields 
housing prjct emrging and giving the place layers of the 
The other eason why Newtown has ben considerd as a ? ld? and the ?nw? in one plce. 
mr suitbl site is that the rtist, including storytelrs, 
theselves chos and evloped Newtown as a cultral Fig 6 - 7 on page 40 shows the greater Newtown precinct in 
cntr for greater Johansburg in th 1980?s, nd this is the cntext of its neighbrin districts. What is iminent in 
acordin to Brink (194:32). Having the  site in Newtown this graphic is the siz of Newtown relative to its neighboring 
wul then reinforce and build upon what lrady xist, districts. Newtown is much smaler in siz as cmpard t the 
and thus has mre chnces of being a sucesful scheme in neighboring districts.  Becus of its ize nd loction, it is 
Newtown thn Sophiatown. asily acesible.
 Some of thes existing facilties include the Market theatre, Fig 6 - 8 on page 41 is a label map showing important 
which was opnd in the mid 1980?s as  plc for l buildings and lcs within th Nwtown Precinct.
 regardles f race. 
Fig 6 - 9 on page 42 is a figure ground study of the area, nd it 
After the fal of aprtheid, the people from the townships is derived from  fig 6 - 7. From this figure grund study, one 
bgan to mve out of th townshis to previously exclusive ss that the built forms n the landscape are regularly 
suurbs etc. Th implicatin f this is that s popl wr placed nd thus ake the plac permbl. Thr re 
fre to stay wherver they chose, they tok their values ith extrnal roms in the form of courtyards or similar spacs 
thm t such placs. Thus, th twnship cultr ws not just that give the plac a healthy urban peal. Ther is ome 
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 37
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 38
 Thesi site xplored in Newtown
 Thesi site xplored in Sophiatown
 Fig 6 - 5. Aerial photgraph of Newtown. Phot from 
Gogle Earth, cited 25/02/08 
Fig 6 - 6. Aerial photgraph of Sophiatown. Phot from 
Gogle Earth, cited 25/02/08 
losens read in this figure ground study as wel. Some parts enrgize the path from the Museum Africa nd the Mary 
f th ar r composd f lsely scterd built frs s Fitzerald Squre. The flea markt nxt o the Markt hter 
indicted in the grahic. is also nvisagd as growing nd extending to the Sci - Bon 
discvery centre s el. The Sit wil in a way dfine this 
Having loked at the figure ground of Newtown, one then rout and provid dlaying factors in one?s journey along 
loked at how csibl th place is. Fig 6 - 10 shws this. the route.
 Nwtown is highly acesile, both by car nd on fot. This i 
one strng quality of th plac, which pens t be within Loking at fig 6 - 13 on page 46, the site has  direct impact 
cmfortable wlking distnce from the mtro mal taxi rank n its imediate and urbn contxt. Th surfac parking on 
and the Wstgate taxi and train station as wel. The Westgte the site wil b convertd t basement prking to fit in the 
txi and train sttion re not shown n fig 6 - 10, but on can proposd evlpmnt of the Nwtown Precinct by GAP 
se how Newtown liks with te place by road. Urban Designrs and Architcts.
 Having sen the ase of aces of the place, one may GAP?s proposal lso encourages walking in the precinct o 
howevr highlight th fct that Nwtown is dirctly faciltate interctin. On?s jurny from the bus arking t 
acsible to and from the frewy in ne direction. This the Sci - Bon Discovery Centre wil b nergized by 
means that ne can nly gt o the freway from Nwtwn if dvloping the site as dlay factors il e provid by the  
thy re head for the suth. Othrise, Bramfontein extende flea markt.
 provids th nerest freway on - ramp acs to the Nrth. 
Spaces like the Mary Fitzgerald Square wil also get more 
Again, if one is aproaching from the North, the nearest of - definition by dvlopin this ite. Hierrchy of hrd and sft 
rmp is als in Brmfntein. One thus has to driv thrugh as wel as ig and smaler public spaces wil be crete. A 
Brafontein. Ther is an of - ramp ces for one rich public environent wil thus e crtd at h nd.
 praching from the south alng the freway. This in a way 
is a weknes in vehicular  ces. Thr is mple prking 
spc in Nwtown as one can also read fro fig 6 - 10. The 
area  is conducive to pdstrin ctivity.
 Legibility of the place is studied in fig 6 - 1. Nodes and 
landmarks uch s th freway, which can also b sn on 
fig 6 - 1 on page 4 ar highlights of the plce. The place is 
hihly legible nd thes landmark featurs mak it sy for 
one to lcat themslvs n their position i the precinct.  
At his pint  suitable site was lcted and is hown i fig 6 - 
1. The site is within th cultrl zon of Newtown as fig 6 - 12 
shows.
 Existing museums as wel as other storyteling places and 
religious placs within Nwtwn ar als shown i fig 6 - 12. 
Th site chosen as chosen as it is nticipated to help in 
establishing  a ntwork f stryteling places in th prcinct.
 Fig 6 - 12 also shows the site relative to existing musical or 
reliious plces in the prcinct. Agin th sit has  potentil 
of linking with t xisting structures and seting u a ntwork 
f reliious as wel as cultral plces. Th site of choice in 
Nwtwn is en s the most suitabl for storytling, and this 
in vie that th devlopent of that site would lso help 
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 Fig 6 - 7. Aerial phot showing Newtown i context. The Newtown precinct is the highlighted region. Phot from Gogle Earth. Cited  20/5/08
 BRAMFONTEIN
 NEWTOWN
 FORDSBURG
 MARSHALTOWN
 JOHANESBURG
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 13
 18 2
 10
 12
 1
 9
 16
 17
 8
 15
 14
 36
 4
 5
 19
 1
 20
 7
 21
 2
 23
 24
 25
 26
 27
 1.  Mary Fitzgerald Square
 2.  useum Afric
 3.  Markt Theater
 4.  Afric Cultrl Centre 
&      
     Children?s Museum
 5.  Ol Kipies Jaz Bar
 6.  Market Thter 
Precinct
 7.  Nikis Oasi Bar
 8.  Workers? Museum  
     & Library
 9.  Turine Hal/ Anglo 
Gold 
     Ashanti Headquarters
 10. Horr Cf?
 1. Resrve Bank
 12. S.A.B World of Ber
 13. Sci - Bn Musum
 14. Shivav Caf? 
15. Blue IQ Hedquarters
 16. Nwtown Music Hl/    
      Basline
 17. Dnc Factory
 18. Carfx
 19. Victorian Toilet 
      (Natinl mnument)
 20. Old Railway Station
 21. Brickfields Housing
 2. No.1 Cntral Place
 23. (Under onstruction)
 24. New Kipies Jaz Bar
 25. Afrika Cultrl Centre
 26. Herbet Dlhomo 
Thatr
 27.Children?s Parliament
 Fig 6 - 8  Shows ome important buildings and places within the Newtown Cultral Precinct.     (Drawing after fig 6 - 7)
 N
 0 20m
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 Fig 6 - 9 Shows the figure ground study of the greater Newtown Precinct. One rads a spatil order of a regularized pater. Organization of 
buildings and opn spac highlights permabilty. Thr is m losens in the fbric of the ara s wl, nd this is indicated by the 
highlihte rea. (Drwing after fi 6 - 7).
 N
 0 20m
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 43
 Parking for buses
 Surface Parking
 Basement Parking
 Main public transport route
 Main pedestrian movement route
 On and Of - ramp to and from 
M1 freway
 Pedestrian movement 
gnrtors
 Fig 6 - 10. Shows the inhernt movement routes within the Newtown Cultral Precinct and the conections to the neighbouring context.    
(Drawing after fig6 - 7)
 ORIENTAL
 PLZ
 METRO MAL
 N
 sui
 d
 ar  
gnikl
 a
 w  setuni
 m  5
 0 20m
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 Pedestrian movement 
gnrtors
 Retail stret edge
 Flea Market
 Arival node
 Departure node
 Arival &departure node
 Landmark Feature
 Chosen Thesi site
 Urban edge
 Fig 6 - 1 is a study of the lgibility of Newtown.     (Drawing after fig 6 - 7)
 ORIENTAL
 PLAZ
 METRO MAL
 N
 0 20m
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 45
 Industrial zone
 Core of cultral precinct
 Residential zone
 Museums
 Site
 Musical venue
 Theatre
 Church
 Fig 6 - 12. shows the distinct zones within the Newtown Cultral Precinct, the various toryteling places including museums, musical venues and 
reliious places. Most of thes ar ithin th cor f the cultrl prcinct   (Drwing aftr fi 6 - 7).
 N
 0 20m
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 Fig 6 - 13 shows the site and its impact on the imediate and urban context. ( Drawing after fig 6 - 7 ).
 N
 Existing Flea Market
 Inspired growth of Flea Market
 Mary Fitzgerald Square 
Defined Soft Open Space 
Exit Coridor
 The Site ha s a direct impact on its imediate and urban context. Building up on the indicated site wil 
provid more finition nd enclosur to th Mry Fitzgerld Square. It wil als rvid efinition to the 
en soft space as indicat abve. This creates a hirarchy of pn spces in the neighburhd. A 
hard frecourt btwen the thesi building nd the Sci Bon cmlex is also nvisagd as  means of 
relting th thesi building with its context while also cntributing positively t the urbn environment 
by ordering space. 
The growth of the Flea Market wil also be inspired and the shoping coridor from fig 6 - 1 wil be 
xtnde. 
The xit coridor also gets more definition. the thesi building wil also enrgize this dead route. An order 
is thn established in as far s ovment (pdstrian an vehiculr) is concrne
 0 20m
 Ocasional Flea Market
 Hard Forecourt envisaged
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 Fig 6 - 14 shows the site tsted aginst other sites within Newtown. Drawing after fig 6 - 7
 N
 The site was later on tested aginst other avilable sites within Newtown Sites labeld 1, 2 and 3 wer sen as  other suitable sites.
 Site 1 is within the cultral precinct and adjacent o high density housing of Brickfields. 
Site 2 and site 3 are on the pedestrian and taxi route out of town. Site 2 has  potential of enrgizing the western side which as revamped buildings. 
Sit 3 hs only th nrthrn si fcing the stret and can fcus inwards.  
Loking at he broader urban context, the thesi site has  lot more positive contribution i the urban environment as compared to the others as it wil 
fer oportunities for cretion f hirarchical spacs in cntext. Again, th thesi uilding on the chosen sit wil wrk with t Wrkrs Librry and 
Musum as placs fr storyteling. The thesi building wil also tap onto the nrgy of the rute to th Sci Bon complex. Site 1 also has  potentil of 
doing this, but he building wil be on its own on this ite ithut he Wrkrs Museum?s uport.
 The one big drawback howevr is the busy road to the north of the site.
 0 20m
 1
 23
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 Fig 6 - 15 shows photgraphs of the site and the directions from which tey wer taken. Al pictures wer taken by author.
 V1
 V0 V3
 V0
 V1
 V2 V3
 V2
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 M
 IR
 IA
 M
  M
 A
 KE
 BA
   S
 TR
 EE
 T
 M
 IR
 IA
 M
  M
 A
 KE
 BA
   S
 TR
 EE
 T
 N
 SCALE
 0 50 10m
 ANGLO ASHANTI
 HEDQURTERS
 SITE
 JEPE STRE
 T
 JEPE STRE
 TW
 O
 LH
 UT
 ER
  S
 TR
 EE
 T
 BRE STRE
 TThe Site and its imediate 
contxt
 Fig 6 - 16 shows the site to scale. Drawing after GAP Architects and Urban Designers
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 Fig 6 - 17 shows photgraphs of the Newtown Precinct in the vicinity of the thesi site. The activities captured include 
multiple use f ublic nd pen spac. Amenitis like public toilets are also fund. High density housing is also part of the 
precinct. Al pictures by author.
 Newtown i pictures
 V4
 V5
 V6
 V7
 V8
 V9
 V10
 V10
 V4V5
 V6
 V7
 V8
 9
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 Newtown i pictures
 Fig 6 - 18 shows more photgraphs of the imediate context of the thesi site. Memory, art and leisure are rad in thes 
pictures. Al picturs by author.
 V14
 V1
 V15
 V12
 V13 V16
 V1
 V17
 V12/
  13
 16
 V14
 V15
 V17
a
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 precdent studies
 52
 7.0          .          .          .         .          .          .          . 
1. JEAN - MARIE TJIBAOU CULTURAL 
CENTRE
 ARCHITECTS: Renzo Piano Building 
Workshp
 LOCATION: Numea, New Caledonia
 53
 Al pictures on this page are of the cultral centre with Fig 7 - 1, 7 - 3 and 7 - 5 showing the centre in context.  Fig 7 - 2 shows the xhibition space in 
one of th biger huts, nd fig 7 - 4 shows th covred pathway tht is the primary acs link to the cultral centre. Pictures from 
w.renzopiano.com, cite 14/1/08.
 7.0 Precedent Studies      .       .       .       .       .       .       . 
     
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7 - 1
 7 - 2 7 - 3 7 - 4
 7 - 5
54
 7.0 Precedent Studies      .       .       .       .       .       .       . 
     
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3
 Main Aces\ Entrance
 Group\ Vilage
 Path as genrator
 Aces of the path
 Louvres for air movement
 Strong wind irection
 Air movement inside
 Insulating air layer
 Fig 7 - 6 above shows the anlytic plan of the cultral centre with te path as genrator linking al other spaces. Fig 7 - 7 below is 
an anlytic sctin f th building thrugh on of the huts. Both figs fter Findly (198: 98, 102) respctively.
 Path as genrator and link
 Aces of the path
 Legend
 Legend
 1
 2 3
5
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The Jean - Marie Tjibaou cultral centre is named after one space is concerned. 
of th Knk lders nd is cording to Buchann (195 : 
190), ?A gift from the French gvernment to its overseas More lsons
 department and its indignous popl.? The cultral cntr Rsponse t Climate
 srvs to comemorate the traditinal socity of the Knaks The sit on which t cultral centre sits is windy and as uch 
and prvide a focus in th invitble vlutin f its cultre, th huts are designed to respond to the ins n t the 
(Buchann 195 : 190). One then undrstands that his plac same tim provid a cnducive internal nvironment. Th 
serves to presrve the indignous cultre of its peole nd shp of the huts mkes this posibl in the way thy are 
at h sam tim inform those wh would like to knw about streamlined. This also crates negative and positive presur 
the Knk people?s cultr and histry. It is thus a plce fr zons that enble psiv vntiltion t tak lace. 
Kank storytling. Adjustable louvrs faciltate this. This agin stbilzes th 
overl structure of the huts s the wind loding is alnced 
The cultral centre is of monumental scale in its context, and n al sides. Furthrmor, the shl of the huts is layerd. This 
this makes it highly visual in its contxt. lyering has n iternal nd xternal parts of th nvelope 
with a lyer of air in betwen. Th lyer cts as n isulatr 
Program and helps in regulting th internal climate of the huts.
 The progam for this cultral centre is very open and 
dynamic in that it acomodats many functins n Path as genrator
 activities within the cultral centre. This program consits of A clos lok t the cultral centre revals that the whole 
dinig facilties for artist,  caftria nd lunge, a bar s centre is rganizd around  path. Al spces ithr branch 
wel as recptin nd administration facilties. Thre is lso of or pen to the pth in the form of a covrd walkwy. This 
an uditorium for fil viewing nd prformancs, an linear ath is thus more than a link s it brings l the spaces 
mphitheatre fr outdor performances and  togther. The path is thus  spine, and a genrator f ctivity. 
ediathqu as wel as  multimdia librry. Thr re also The most public zones are towards the bining f the path 
xhibition spces, a multipurpose hl s wel as tudios nd by the ain entranc, with te most private at the furthest 
workshs for artist. end. This hirarchicl arngnt along th pth crats a 
spatil order of gret distinction.
 One rads this program of activities as a vilage in that the 
buildings re arned in groups more like locl stlemnt Materiality
 types. Each vilg has a difernt xprince fro the Timbr is used extensively in the nvelope of the huts and 
othrs. Ech vilae thus hs its own unique xprince in as any othr parts of th cultral vilag. This was inspired by 
far s activities r concerned. the cnstruction f the locl huts, which mke us of the 
abundant timber and ther natural resourcs. Stel is also 
Design of interior space use to strengthn n complement h timber. Othr locl 
As aid abov, the cultral setlement is made up of groups building materials are als usd throughout the cultral 
of structures working togethr as ?vilages? of xrience. The centre to fix it to th context. Al thes make th cultrl 
design of intrir spacs as en, for xample, from fig 7 - 2 is cntr part of the context as it blends with th rest of the 
a vry warm and oen on dspite the onuental scale context nd fits in with t cultral construction mthds. It is 
of the huts. The vlums are of human scale in s fr s thus not alien i its iting despite its phistication of the use 
prportions ar concerned. This is in contrst o the xterior of thse mtrials. 
scale f the huts. At som places double volumes nhance 
th xprince of ne in sc as th internal space links Stil on materiality, ther are vast amounts of glazing that let 
visualy with th utsid and the views bcome mor like natural light into th interior spces. Sft and wrm intrior 
prt of the xhibition. This is mad posile by th glazd spces re thus creatd.
 wals in such spaces. Al this is en as rchitctural spce of 
vrying quality crating extra snsory simulation exerinc 
of the body in spce. Th difernt sizes and light quality are 
usd t istinguish intrnal spaces in s fr as experinc in 
2. SENDAI MEDIATHEQUE
 ARCHITECTS: Toy Ito
 LOCATION: Sendai, Japn
 56
 7 - 8
 7 - 9 7 - 10
 Fig 7 - 8 above shows the ntrance facde 
Fi 7 - 9 nd fig 7 - 10 blow show th intrior spaces with bok stacks and casual seating area respectively. Pictures from 
w.galinsky.com/uildings/sendaimediathequ, cited 02/06/08
 f th Sndai Meditheque fcing th six lne tr - lind boulvard srving as the main aces road. 
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Ground Flor Plan
 ?Openes of space, few planes definig 
spac. Spac is genraly defin by activity.
 Sevnth Flor Plan
 ?Planes define spaces that in turn are 
groupd to fin  cntrl open spc.
 ?Fre flwing space al arund efined 
spacs.
 Third Flor Plan
 ?Wals as Plnes define spaces and paths.
 ?Spces re organizd of th pths.
 Movement in space ( Defined path )
 Location of Services
 Structure containig lifts ( Mechanical 
movemnt ) nd placed on one side
 Structure housing stair, placed on the 
oposit side of the mechnical movment
 Key to reading anlytic sketches
 Fig 7 - 1 on this page shows anlytical sketches of the 
Sendai Mediathequ. Plans fter Polck (201:96)
 Layer of air ( insulator )
 Iregular Structural grid
58
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Fig 7 - 12 on this page shows more anlytical drawings of 
the Sendai Medithque, drawings fter Polck (201:97)
 Structural tube
 Single skin
 Horizontal plane
 Double skin
 Section shows tructure housing vertical 
movement and servics.
 On ay tke not of the unequal width 
along the vrtical run f th structurl tubes.
 Architecture as a system is composed of skin
 vertical tubs nd flors as hrizntal planes.
 Li
 g
 ht
  fi
 lte
 rin
 g
  in
 to
  th
 e
  b
 ui
 ld
 in
 g
 d
 ire
 ct
  s
 un
 lig
 ht
 Insulative quality of double glazing 
to the sun fcing fac (author?s 
sktch).
 Exhausted 
air rising
59
 The Sendai mediatheque was designed with te concept of movable curtains and temporary panels are used to define 
rinvntig th civic building for an informatin - hungry and rak spce. This acrding to Polck (20 : 19), is 
time. This means that he building ws cnceptualized with one so  becaus the rchitect wanted the building to alow 
th ain i of providing information to society not the usrs t discover nw placs and nw uss for themselves. 
conventional way libraries and ther pedagic instiutins This may be sn as lowing for teritorializatin of spac as 
d, but it is n er specific information rovider meant o set people dfine spce the ay thy wnt, not the wy the 
new standards in as far s cunicatin is concrned. It building ictats. 
srves the ra of information technolgy. Kari Siloway 
(ww.galinsky.cm/buildings/sndaimediatheque) sys This efct is achievd iferntly on each flor, thus each 
?The meditheque serves as a plc for gthring and flor ofers its own spatil xpriencs much unlike th other 
sharing information through the latest elctronic, diitl, flrs. On als reds the furnitur as definig space and 
visul and printed means.? This mks th building a place thus creting mting spaces n thus enrting 
for storyteling. togethrns and interactivity. The glas skin acts as a 
cntainer and insi this containr personal spces re 
At first glance, the building is monumental in scale, but its cretd. 
transprency maks it inviting than imposing. Polck 
(201:91) writes, ?The mediatheque is n urban spectacle More lsons
 at its most refind.? This is true considring its lok. On most Structural inovation
 striking fature of this building is its transparency. This The verticl structure consiting of stel tubes and of varying 
transparency prvides a visual link betwen inside and diamtrs per flor is highly invativ and unique s wel. It 
outsid in a tntalizing wy. enbles visual prosity and thus lows vision to pntrate 
th dfined structural system while nt cmprmising th 
Program overal prformance structuraly. Bcause of the dynamis 
The program for this building is a very dynamic one f th structurl systm, services .g toilts ar not stcked on 
consitin of a cyber caf?, a bok shop, xhibition spac, top of ne another fro flor to flr. This helps in enriching 
infrmatin centr with peridicals as wel as cmuters the quality of intrnal space.
 and children?s boks. Thr is lso  forml library with 
boks, raing section as wel as a quiet study rea. A Response to Climate
 refrence section, rntble and profesional galeris lso Th sun facing fcd has  double skin of glas with an air 
form part of the program. The audivisul cntre with space in betwen the iner an utr skins. This cretes n 
internet ready comuters, cd plyers and vd monitors insultive cushion and prvnt the gren hous fct of 
complts the prgra. glazed structures.
 One ses a highly diverse program of activities in this Simplicity of orm
 building. The way al ths activities re groupd together The cubic and geometric form of the building is very simple 
spatily maks it  very dynmic program rchestratd to yt apelin in th way the building is dtaild. Th 
function s  system. Similar ctivities re groupd together revling nature of the glas skin with orizontl slabs 
and in a way suport ech other. Th xprience frm flor punctuating it thrughout its height creates an itersting 
to flor becomes difrnt as difrent flors acoodate aesthetic
 difernt functions . 
Nartive
 Design of interior space The floating slab at he roftop makes the building lok as if it 
As en n th lns  fig 7 - 1, and from fig 7 - 8, the overal is incmplet, nd thus cretes n ncounter with the 
form of the building is rouhly squre in shape. Th layut of spectator.
 vertical structure in clumns does not folw a regulr grid 
patern. They ar of varying sizs and als hous activities 
such as tairs, lifts and services. This results in flexible spacs 
independent of the structural grid layout. Again, glas wls, 
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3. ARTS CENTRE AND 
MEDIATHEQUE AT NIMES
 ARCHITECTS:
 LOCATION:
 Foster Asociates
 Nimes, France
 60
 Fig 7 - 13 above shows the main facde of the Care d art and its relationship with public 
space. Fig 7 - 14 bel  lft shows how cirulation hs ben use to rder the sace within 
the buildin, and fig 7 - 15 bel  shs how the caf? provids nclsur and opns, 
thus marying public and private. Pictures frm w.fosteranasociates.com, cited  
02/06/08.
 7 - 157 - 14
 7 - 13
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Ground flor plan anlytical sketch
 Uper Galery levl flor plan anlytical sketch
 Typical rectangular
 structurl grid
 Atrium and main cirulation space serves 
as light rvest nd focl sc
 Key to reading anlytic sketches
 Fig 7 - 16 on this page shows anlytical sketches of 
the Care d Art. Plns after Pwley (1986:5)
 Service spaces on the sides uround 
srvd sc (includs lifts, toilets etc)
 Internal spaces defined by structural system
 (Dominnt structural orer)
 Circulation space also defined by 
structurl system
 Entrance of axis
62
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Form study
 Subtractive form creates lightwel
 Aditive form creates
 uper platfr
 Form and space planing
 Centrl trium works s lihtwel and main
 focal space : visual link to al spces.
 Frm d of simple rgulr geomtric forms
 transforme 
Building in space has a huge 
cirle of presnc; glows at 
night.
 Envelope
 Rof (Scren/ Floating plane)
 Structure
 Aproach
 Direct pth bends just before
 raching uiling.
 Buildin is the main object of ocus
 Atrium space also serves as 
orientationl spc bcuse 
it is directinal
 Form consits of envelope (Clading), vrtical 
structure and rf (flating plne)
 Public/ Transitional space created by 
canopy
 Fig 7 - 17 on this page shows more anlytical sketches of 
the Care d Art. Al sktches by author.
63
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Fig 7 - 18 on this page shows anlytical sketches of the 
Care d Art. Drawins after Pwley (1986:54)
 Service spaces on the sides uround 
srvd sc (includs lifts, toilets etc)
 Key to reading anlytic sketches
 Natural light into building
 Raised ground flor levl relative to 
strt/ public spac lvl outsid 
creates a platform
 Dominant structural module in 
section s wel
 Scale of building
 Scale of context
 Extent of atrium
 Relationship with context
64
 Martin Pawley ( 1986 : 50) writes, ?The project started with te hierarchical rangement of activities and ifernt spatil 
detrmintion of the mayor of Nims to complet th xpriences from lowr basement o tpmost flor.
 square in the centr of the twn by rebuilding th side 
formrly ocupid by a thatre destroyd y fire in 1952.? The structural grid is also used to rder space as paces are 
This prject came aout s im at regenrating and modularized cording to the structurl grid. Thus ths 
reinvigorating th city. In its context, it is part of  public internl spaces are f a strict module but stil acomodate 
space initily defined by the ld church osite to it. It is activities of difring nature an demnds with grt 
mor of an extnsion of th public promenade stablished dilgnc. 
by the ld church.
 Furthermore on the site isue, the project establishes a More Lesons
 dialogue btwen old and nw in that it dos not impose 
itself nto th old church. It rather cknwledges th Sensitivity to context
 prsnce f the l church and os not tor ovr it. It is Almost half f th building?s volume is buried underground 
also pland and proportione t relate t the ld church as en i fig 7 - 1 on pae 56. Fro outsi this ives the 
Misn Care, s wel as th other buildings in its context. building a modest lk s it comes dwn to the scal or 
One thus s it as an extensin of the church and public height of the rst of the buildings within its cntxt. It thus 
spac created by th church. Th lightnes and acknwledgs the prsnce of al other buildings in its 
trnsparncy of the uilding breathes new life into th urbn context.
 fabric. At daytim th builin hrvst natural light, and at 
night it ilumintes the context. This results in difernt sptil Public Space/ Place
 activities and xprincs during day an night ime in the The uilding crts a hierarchy of public space. The 
contxt of the building. trace just below the cnopy relates with te activity down 
at h ground lvel. This results in hirarchy of public space. 
Program Again, the activity genrated by the building oth insid 
The program of the building consits of a combination art and outsid mkes a plc out of th space.
 galry, vide shop, creche, library, dnce studio, cf? - 
resturant, meting hal and cinema. This is als a diverse 
progr  that comodates mny forms of 
cmunication. Again, this prgrm is inclusive t al age 
groups as it hs facilties to cater for people from pr - schol 
t adulthod. It is thus a plc fr grwing u for children 
n becmes their secondary home. This makes th 
building a plac for storytling s it has and crets many 
difernt ltforms fr cmunication to l.
 Ther is also a systematic arngement of spatil activities. 
Design of interior space
 Th overal frm f th building is rectangular in shape, and 
al th spces are organized systmticly round n 
trium that doubls up s  stairway. This tairway space is 
the focus f the interior spce nd also cts s  link 
btwen al parts of th building. 
The most public spaces are on the ground flor with private 
storage sace nd rchivs burid unerground whil 
glris nd a caf? are at the top. This prvies a 
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65
 3. PECKHAM LIBRARY
 ARCHITECTS:
 LOCATION:
 Alsop & Stormer
 Peckham, London, UK
 Fig 7 - 19 above shows how the library iluminates the context at night. Again one ses from this picture how the library creates heltr and thus 
extends pulic space t becom prt of the library spac. Fig 7 - 20 below left shows the interior sac f th min librry spac and how the 
pos create sc within space. Fig 7 - 21 blow right shows a detail f th back facd. Th clourful glazed paterns brighten up the cntxt 
and giv it  vibrant spectcl. Visible structure becomes prt of the esthetic expresion. Pics frm w.lsondstormer.com, cited  05/06/08
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7 - 19
 7 - 20 7 - 21
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Public space dominates the ground 
flor.
 Shelving space defined by envelope 
and structurl gri dfines cntral sace.
 Main central library space layerd: contains 
spcs within  spce.
 Spaces within a space create hierarchical
 reltionship of sc: partil & ful confiement.
 Service space placed on the glazed side, relates 
intrnal cirulation to the utsid n also shilds 
the sun.
 Key to reading diagrams
 Fig 7 - 2 on this page shows anlytical sketches of the Peckham Library. Drawings after Melvin  (200 : 23)
67
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Form
 Transformation of simple 
geoetric frm t crat 
shltrd space
 Fig 7 - 23 on this page shows more anlytical sketches of the Peckham Library. Drawings by author, top left hand section after Melvin (20 : 26)
 Hierarchical ordering of space
 a - Internl cnfid space
 b - Transitional semi - confid 
      spce
 c - On space
 Planes defined by building create 
dirctional shlterd space.
 Space rds as a path nd a 
contin rom t he same time
 N
 a
 tu
 ra
 l l
 ig
 ht
 Pod as pace within a space 
prvies  mans of ventilting 
the ntir spce, and provides a 
difrent satil xperinc with 
light coming from above
 Monumental scale of sheltred 
space in rltion t human scale
 Wal as plane
 cretes bckdrop
 Flor as plane
 cretes th
 Flor as plane creates 
ceilng nd shltr Building in context orders
 space, directinality f
 sc cratd
 Volumetric expresion 
creats difrnt 
sptil experinces
68
 The Peckham library acording to Catherine Slesor  (200: the thre pods within the large space. Al thes spaces 
138) came into eing s part f a mjor nwal prgram acomate difernt ctivities and provide for 
which includes a public squre, urbn gatey nd helth conducive nvironmnts to the activitis within such spaces. 
and fitnes cntre. It is in a context with dilapiat old Again spacs underneath th pods is also defined nd 
builings and shoping fcilties. becomes habitabl to activity. The veral builing 
cs  hive of difernt ctivities and thus  metin 
The invertd L - shape of the building and its use of building place. This agin is what  place for storyteling should b.
 matrials make it stnd ut in its context. The lowr part and 
bck re glzd, with the front transparnt and the bck 
colurd. This brightens up the context t ny given time, at More Lesons
 night he colured lazing at h back brightens th contxt 
and givs it vibrancy. The front trnsparent lazing lightens Liberation of space
 up the coverd porch and gives it h quality of a sta to Th overal frm of the building derives from a rectangular 
the squar. This ace efind by the horizntl top art blck trnsfored by subtracting a part to crte the 
bcomes n extension of public spac as the building is on invertd L - shap. This creates heltred ublic spac that is 
the dg of a public square. On hot dys th shae invites inviting in ture as th spc crat is pulic sce. This 
pople t tke rfuge or shltr in this pace. The squar thus agin elvats th library to the uper levl and frs the 
flws r xtnds into th building. round flor for pulic use and cirulation as wel as heltr.
 Program Identiy
 The program of the Peckham library is multimedial in ature Th overal form is imple and at he same time unique. The 
and thus engags intrctively. It consits of  forum for letrs t the tp both at the front and bck of the building 
comunity dvice and information, fices and spl ?LIBRARY?. Tgether ths give the uilding th ailty to 
infrational servics, chilren?s activity area, multimeia read and stand out in its contxt. On fins the building 
spaces, cmputrized catlogues nd tbses as wl sily s a result.
 s boks. Becaus of the natur of the program nd the 
activities it comdats, the buildin becoes a Place
 resourc to al ge groups from children to adults. Evryone Th building becomes a place as evn when the dors are 
has a place within this building an it is  real place fr close, th spac defind by th builing stil 
storyteling. acmodates eople and provies heltr.
 Again, being multimedial, it comunicates in difernt ways Multi - sensory experince of space
 to comodat  wide variety of users and user Spacs within sac rlat to th main space in difernt 
prefrences, which is hat  plc for strytling must o in wys. Some are completly sealed of while othrs provide 
ordr to b inclusive to l. Everyone thus has  place in this contact with t ain sac. Multi - sensory xperinc of 
library, and it is en by this thsi as  place for storytling. spce is created in this regrd.
 Design of interior space
 Th building?s internl space is organized in such a way that 
spaces are arngd to fr an elmnt of surprise. From 
the ground flor one enters through a narow and 
rctanular uble vlum space. The stirs nd elvtor 
provide for vertical moveent leding up to the main library 
sac that burst up into a much bi er spac thn one 
encounterd earlier. This pce is horizontaly exageratd 
int a mor squrish form unlik the ntrnc spc tht is 
verticly exagerated and rather tight. This ace contains 
spaces  within a spc in the form of a mezni lvel nd 
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5. TAMA ART UNIVERSITY
 ARCHITECTS: Toy Ito
 LOCATION: Tokyo, Japn
 69
 Fig 7 - 24 above shows the ntrance facde of the Tama Art University Library in context. The transparency of the building helps in harvesting 
natural light as wl as nticing th spectatr. Fig 7 - 25 nd 7 - 26 blow show the intrior spce defind by th arches. Crudity of the structural 
concret is lso expresed. What is also visible is open confiement defined by th structure. Pics from w.dezen.com, cite 02/06/08
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 7 - 25 7 - 26
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Fig 7 - 27 on this page shows anlytical sketches of the Tama Art University Library. Drawings after Gregory (207 : 10)
 Iregular 
structurl gridEntrance
 Fixed activity library space 
Multifunctional space
 Key to reading diagrams
 Entrance
 Physical barier
 Space within space
 Seismic Isolation pit Suport/ Services pace
 Aproach
 Path leds to entrance and branches 
just bfore th ntrnc.  
1
 2 3
 1 - Basement Flor
 2 - Ground Flr
 3 - First Flor with Mezanie
 Iregular structural grid
71
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Fig 7 - 28 on this page shows more  anlytical sketches of the Tama Art University Library. Drawings by author, botm section after Gregory  (207 
: 102 - 3)
 Structure (arches) creates patil containment and openes 
at he sme tim.
 Visual conctivity of places within the building and outside
 is fcilitated.
 Fredom of movement in space is faciltated: furniture used 
to arcate and fine scs
 Spatil volume xagerated with section
 Ground Flor slab inclined to flow natural
 terain outside the uiling
 Outside and inside rlated.
 Visual lightnes of structure 
also creatd by the archs
72
 The Tama Art University library as the name tls i a university interior space an ensemble of smaler spaces or vistas. 
librry building conceptulized to bolstr intrdeprtmntal Furniture is usd to dfin space physicaly. Circulation s 
relations an faciltat meting etwen staf and students. wel is not dictate by the structural system. Thus one cn say 
This i acording to  Gregory  ( 207 : 97). that ther is  harmonious reltionship of structure nd 
spc as neither doinates th other.
 In its context, the library is one of the first buildings one 
encountrs upon arivl t h university, and is thus en as 
a gateway building welcoming pople into the univrsity 
cmpus nd usherin th out as wl on thir way out of More lsons
 the university compound. As a gteay building, it is triking 
in aparnce with its unusly curved faces facing the Response to ground or site conditions
 min gte and bus stop as wel as the proch path. Th seismic islatin pit is use t balnce out he fect of 
Curved winows ithin rchd openigs als ad to the earth ovements and as uch protects th building frm 
imprsion the building makes at first siht. It does lok vry structural daage brought about by arth movements.
 unusal nd strikin as wl. The big winws rveal the 
activity insie the building and thus increase its pal Structure
 while giving th uilin n overal aesthtic of structurl The structural system of the building in the form of arches 
lightns. crates pockets or vistas f space within th interir spc of 
the building and provide  sns of containmnt in open 
Program space. On the facs this creates an ilusion of structural 
The program of the building includes a caf?, asembly hal, lightns in th overal esthetic of th building. 
galry/ evnt spac, multimedia r, udio visual oth, 
ofices, rading ro, bok stck area : cmpct and 
pn, as wel as uport and storage fcilties. This dynmic 
rogrm kes the builing  mting place that it was 
intende to b. With the facilties provid for in the 
program, evryone, not nly rtist, has  lace her. Ther is 
r  for spontanity, especialy in the galery/ vnts pace 
that cts as  multipuros spce opn to many functions 
including exhibitions and erformances. It lso acts as a 
temporary thatre fr cinematgrphy. 
This program faciltates interaction at many difernt levls. 
one can thus y tht th prgr is open and inclusive, 
and this makes the building a lace for strytling as uch. 
Design of interior space
 Lokin at h design nd organization of the interior space, 
ne ses tht wals are use springly t dfin space. Thr 
ar howver certin fw spaces define by wals, spcialy 
solid als. Srvice spaces r th ons defined by wls, 
therwise ther is a fre flowing space al throughout, this is 
in planing. 
In thre dimensional space, one finds that the structural 
systm consiting f rches of varying spans crats pockets 
of space that is defined and t he sme time open. Ths 
arches ar not of rgulr spans and as such rnder the 
Sumary
 Al the buildings tudied as precdents are rlevant to this 
thesi, an provide many mor lsons thn th ones tated 
arlir.
 One would first coment on the location of the buildings 
studid. They are, xcpt Tama Art University Library an the 
J.M Tjibaou Cultral Centre prt of th larger urbn and 
public spce. The J.M Tjibaou cultral centr is not so urbn 
in its iting and contxt. 
The buildings are not isolated in context, but are part of 
comercial s wl as rsintial activities nd ublic 
spacs including city squares. This loction of the buildings 
in question makes them esily acesible t the usrs, which 
is th public. Th Taa Art Univrsity Library as the first 
building in the university compound from the stret nd bus 
stop may as wl b viewed as having this quality of eing 
acodting to th gnrl public. 
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 Resarch findings indicate that because of its location i the experince compared with the others. The relationship 
university compoun, it functions lik  public building as it is btwn structure n space has n impact on this. The Arts 
th first building encounterd upon entry from the min Centre and Mdiathequ t Nies hs a very strong 
gate. Al others ar public builings in as far s thir dsign structurl orer tht ominates the spatil order. Dspite this, 
nd use ar concerned. one stil navigates easily s th movement routes alow for 
visual conectivity. Al the thr buildings hve a 
Stil on the siting and location, the buildings studied are hrmonius patil and structural relationship wher nithr 
highly visual in their contexts, which agin makes thm sy doinates. Agin, visul conectivity is faciltatd. 
to identify. As much as thy may difer in lok copared to 
thr buildings in their contexts, they create ositive Spatil definition is agin achievd in difernt ways in al 
dialogues with the suroundings. To highlight this, the Arts buildings. Sndai Medithequ uses les solid als to define 
Centr and Mediathque at Nimes i lcated at he bnd of space. Wher soli wals are usd, the spces find 
a road n is on focus from fr. Apart from this, th uiling?s gin defin space nd pths as wl. Peckham Library 
min entrance facde faces an old nd presrved church. liberats ground flor sace nd its main librry spce 
They togethr defin a vry imprtant public space in contins paces within spc thus creting multi - sensory 
btwen them. The J.M Tjibaou cultral centr is experince of space. The oenes of the space within the 
monumntal in scal, and as uch twers over th heavily Tama Art University library mak th intrior sc fel lik 
wde context. Its uniquens in matriality also mks it pockets of varible spces or vistas. This is enhancd by the 
highly visual in context. structural system in the form f rches. Th incline flor slab 
of the ground flor als helps in this rgard as paces to the 
Loking at the programs studied, one finds that they are back are mre constraind and compct in vlum 
multimedil and iverse. This maks thm highly versatil in whers thos at he front re more genrous in volue as 
as far as comunication activities are concernd since sn in the section n pag 71. Thus multi - snsory 
mny pltfrs for comuniction r cratd. Again, th experinc of space is also creted her.
 neds of the public are also caterd for since al buildings 
ar mainly intnde for use by th genral public, with te Technolgies of construction of each of the buildings 
exception of th Tama Art University Librry, which is mainly studied also vary, but respnse t climtic nditions as wel 
for acdemics. Despite it being for acdemics, its progr is as oil nd cntext conditions are very important in l. Th 
inclusiv and acomodats fr non - acdemics as wel. It invative us of structural systms secily at Sendai 
has  public inclinatin s  result. Resrch shows tht not Medithque and Tam Art University Library r very 
only acdemics use it. important lsons.
 This nature of the studied programs caters for wide user One thus has to take al of the lsons inferd from the study 
prefrencs, and also usr ae roups from chilhod to of thse precdnts nd aply them to the esign of the 
adulthod re cmodtd in the rgras, agin with thesi building.
 the xception of the Taa Art Univrsity Librry, which does 
not hav facilities for children i its program.
 Design of interior spaces varies widely betwen al the 
buildins tudid, but what is important in th dsign of th 
interior spaces is the spatil interelationship and 
organization of activitis in spac. In l the studie 
buildings, similar ctivities are grouped togethr in spac 
an ain it is very asy to navigat frm one sce to 
nother. The J.M Tjibou Cultrl Centre uses a path as the 
main movmnt and aces spac. This pin links l othr 
spces. The Seni Mdiatheque and Arts Centre and 
mediathqu at Nimes hs tackd ctivities on difrent 
lvls with ech lvl providing a difrent spatil 
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 Fig 8 - 1 Shows early design exploration sketches. The path and space rlationship was initialy adopted as the organizing principle 
at his tage as en from th sketches to th lft half of the pge. Pth - spce rltionships wer thus tudid. This folws from 
storytelin s toris ay be considrd t be similr t a ath : one takes a journey frm th bgining to the nd f a stry. 
Again, a path can take many guises, it may  a stret which ls functions s public space. As public spac, it is wher people 
prctie storyteling through pedstrian spech cts. The path space rlatinshi was don after Ching (207 : 241).
 Another concept explored was that of the place of storyteling as a conglomeration of buildings organized to define a central 
fcus pace or forcurt. It must be highlighted that t his te precdent studies had not ben don, th prcs ws just o 
genrte idas.
 Stage 1
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 Fig 8 - 2 Shows more design exploration. Concepts including multi - sensory experince of space as wel as patil interactivity wer also explored. 
Wal and facde tratmnt was rt f the arly exploration procs.
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 Fig 8 - 3 Shows contiuation of design exploration. The Sotho Tswan early setlement ypes wer also incorporated as ordering elments in the 
desin explratin at his early sta. 
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 Stage 2
 Stage 2 began after a program was drawn 
from studyin prcdents. The drings that 
flw are for the esign don in this tae, 
and thy includ plans, sectins and thr 
imensional moels.
 Since story teling is al about people, the 
plac, a dsin tht cretes latfrms for 
eople?s interaction was th min focus. 
Fig 8 - 4 on this page shows the ground flor 
plan of the buildin in cntxt. A central 
courtyard forms the main focus pac nd 
agin  path is rlatd t the building.
 It must be stated that he drawing is not o 
scale.
 .
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 Fig 8 - 5 above shows the ground flor plan to the lft and the first flor plan to the right. On the ground flor the auditorium and 
main storytling hal opn ut ont a tre lined courtyr. Othr spaces on this lvl includ th restaurant as wl s hip hop 
incubatr and recording studis. First flor spaces include the librry nd performance trace which is lso the rof to the 
resturnt.
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 Fig 8 - 6 on this page shows the first second flor plan 
(above) and the third flr plan to th right. Belw is 
 section runing along the lngth f the auditorium. 
Spacs n the third flr include the librry n 
suort spacs, while the thir flor houses mainly 
administrtive ofics.
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 Fig 8 - 7 on this page shows the models, physical nd 
thre dimensionl, usd t test h sign at his tge. 
Phot and thre dimensional models by uthor.
 From her the design proces contiued, but changed 
direction as th sin was nt sucsful. The main 
problem identified her s lack of respons to the 
cntxt an th ovral scope of the dsign prgram. 
New precdents wer studid as prsented earlier in 
this documnt and th progrm revisd. Folwing this, 
the prces begn.
 Stage 3
 The design for this stage began with the author 
formulatin a stry of n?s xprience of th plce fr 
stryteling s envisaged. The story bard used folws 
from pae 82.
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 Apla rives at 0935hrs at he 
Metromal txi rnk to met with is 
frind Robo, from Tebisa in the East 
Ran, als cing y txi. Thy hve 
 10hrs apointment for touring th 
city together.
 Twenty minutes before their apointment, 
Robo phons Apla t tl him that h is 
runing late. The story is that he txi driver 
has abndond the taxi on th freway 
becuse ne lay psenger was fding 
hr child in th txi and could not pay her 
fares on time. The chil aparently lso lft 
fingrprints on th window.
 With time to spare, Apla decides then to visit 
the cultral ensmble in Nwtown. H has 
only herd bout it, ut nevr ben ther. He 
easily navigates ther. Aproaching th 
building, it striks him with its incomplet 
whole lok and he stands ther fr a 
mnt rying to figure it out, it also loks like 
it has many entrancs.  He wlks n and ss 
groups of pople on th shlterd spce of 
the Cultral Ensmble.
 Upon arival, Apla joins one of the 
grups. To his mzement and luck, 
they are gatherd around Mike 
Muwndni, th mtivational Spaker, 
ho has just given a lecture inside nd 
is n his way to Prtori. H givs th 
crowd his email adres as wel as his 
ebsite. Apl cnot blive his luck! 
H dcides to go n t th multimedia 
centre.
 Apla pases by another group that 
sudenly burst int lauhter. He loks on 
an ss that hey re gathrd arund 
Tpole, the fmous comedian who has just 
finishd his hw?s bking t he Dimo?s 
den. He is teling them how he has just ben 
a canibal t Dio?s den. Apl lughs on 
nd evntuly finds th ntrance.
 The ntrance detail is lightly difernt o the 
othrs. Apl gos inside an fins the ntrance 
a very busy and interactive space. Again, 
pople are interacting with te visul mterial 
on th wls as wel as ith ach other. Som 
are standing undr hnging feturs. He hears 
som very faint sounds as if sombody is 
talking above, but just cn?t se wh! This 
sudenly trigrs his mind about Spok stories!
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 Apla then arives at he vents pace from 
the min ntrnc. Th flor surfc has 
pranent cultral strategy games like 
morbrab mrked on the surfc. 
Ther is n exhibition set up on temporary 
wals and movale scrns, h dcides to 
check it out. On display are chilren?s 
drawings and paintigs on xnophobia 
n child buse. Apla is urprised at how 
informative ths are! Robo arivs, Apla 
had sent him an sms tling him wher to 
be found.
 Robo and Apla decide to go t the 
Khlumolumo hl togther. The visual 
archive catches their atntion with its 
colurful recss continig difernt 
bjects, som openigs are transparent and 
on can se th activity inside. The objcts 
displyed al hve codes. Robo ss Dr 
Motshkg insid, he is talking about western 
wrship and the ancstors. (Some f th als 
that mke up th visual rchiv ar movble 
nd can dfine space in multiple 
configurtions)
 Apla nd Robo jin the fre lecture and 
engge in the debat that folws. Robo is a 
rat blievr in th ncestrs and 
indigenous history whil his frien Apla is a 
evout christian. They both av a gret 
tim engaging in th dete folwin the 
talk. 
Ther are more spaces within the story hal 
space, so lik th ilustration abve re 
risd f the flor and crete hitabl 
spaces undrneth, whil crating 
confiment o varying degres inside them. 
Sme los seting confiurations ar also 
avilable for pople t arnge t suit heir 
neds. 
Corners are also detailed iferntly with 
sm givn cncv or convx shapes that 
define space spaces and creating stings 
for storyteling. Peopl cn ithr sit facin 
the crnr or away from the corner 
dpnding n the shape of the wal. inside 
thes, people can iterct n prsonal lvl 
with storytlrs, or corde stories nd 
audivisual efcts.
 After the debate folwing Dr Motshekga?s 
lctur Apl nd Rbo enage in thir 
own debate on open space. On of the 
many uniformed archivist who is als a 
storytelr jins them and tels them bout 
the place. They larn that h cods 
rlat to storis bout he displaye 
objects. One can acs such storis on 
th computrs by entering the cdes in 
coputers at h multimedia cntr
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 Having learnt hat hey can record stories, 
Apl and Robo decid to rcr Rb?s 
story of his earlir xperince of the taxi. The 
archivist ls them of a ldy wh also 
recorde a txi stry: she as almst 
asaultd by a txi drivr becuse of 
wering tight pnts. Being lctronic bufs, 
it is asy for Ala nd Robo t recrd 
Robo?s try without he archivist?s 
asistance, and they wtch it afterwards.
 Apla nd Robo then decide to stay her 
and explre the plac furthr. They thn 
go t the multimdi centre and share a 
cmputr evn though tr re nough 
coutrs for them not o shar. Next  
them an asistant is helping  computer 
ilitrte to ces storis. Time flies whil 
Apla nd Rbo interact with storis and 
other people n th on - line chatroms.
 They go t Dimo?s den and get something to 
at. Ther are difrnt setin 
configurtions, some organized formal 
tables, lose seating and opn utdor 
spc. Thy notice the l y they hear 
about from the archivist earlir and ecide 
t jin her and friends. Thy re welcom 
and start shring thir stories ovr lunch. 
Suenly they are not strangrs anymore!
 Ther is poetry in the background instead 
of music. Sudenly thre is ilence, an 
? ne two n two? gos a hoars voice 
thy culd hear el without he lectronic 
aid. An ispird sombdy has takn a 
microphone an starts reciting poetry in a 
bid t imprs Kgfel th poet, who 
hapens to be in th dinig cmpany. 
Peol just can?t stop lauhing.
 After lunch tey stay for a while and 
cmnt heir nw friendship and lso enjoy 
the fre potry. Thy then roce t th 
Sdibng afterwards. 
?Audio Boks!? Exclaims Robo. He once 
disputed Apla on the xistenc f audio 
boks. H is fscinatd to find one bk 
narted by his old time strytelr, ra Hlosi, 
who has ince pased away.
 Audio boks are stacked with normal text 
boks, and th spc bten the stcks is 
genrous and welcoming nough as 
pople re siting n the flor as wel s on 
sm los seats in th space bt n the 
stacks.
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 Ther are difernt ypes of welcoming spaces, 
Apl n Robo find a csy corner and join  
air already siting ther. Each pir engage in 
their discusion and latr on ther is one 
discusion betwen the tw pairs. 
Before laving Apla nd Robo go t the cinema, wher they 
watch  movie tiled ?The Freiner?. It is a short film about an 
imigrant strt raer who is harsed by lcals becuse of his 
suces. More short films flw, but Apla is touchd y ?Th 
Forignr?. Bth agre to do something but il treatment of 
peple in genrl. 
From the movies, they have ben al over the building and found it 
wrth visiting many mor tims. They wil b ack with teir 
nephews and niecs as wel as mor friends next eknd
 After being fascinated by the 
colction t Sedibng Apla nd Robo 
decide t chck the Tiny tots. They find 
vry intractive and ngaging spaces 
with children going in nd out of 
spaces mor like in the nartives joint. 
Difrnt spatil xprinces xist 
within one sce, and th children are 
having rat fun.
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 Fig 8 - 8 above is a sketch by the author as one of the tols used in the apreciation of the site and its context. A betr 
understnding of th context ws chievd aftrwards.
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 Fig 8 - 9 above shows ketches by the author as part of the design proces at his tage. 
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 Fig 8 - 10 above shows more sketching used in the design proces by the author.
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 89
 Fig 8 - 1 below shows more sketches used in the design stage at 
this phas f the thesi prjct. Whil sktching contiued, th 
spatil plning was lso done, and fig 8 - 12  to the right shows 
the two main options dpte for the oranizatin of space and 
activities within the builing at his phase.
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 90
 Fig 8 - 13 above shows modeling used to aid the spatil planing and arngement of activities within the building. This was lso aide 
by the computr siulatin as hown belw in fig 8 - 14. At his te, it ws th authr?s idea to xplore a difernt form evn thugh tis 
was til unfiished and unresolved. Th main reason being that his form is not s that much insiring. Th main criticis was that he 
form is more gnric n ds not raw uch frm strytlin. This was the cnclusion of stage 3.
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 91
 Stage 4
 Stage four began with exploration i both sketches and 3 - D computer models or simulations as fig 8 - 15 above and fig 8 - 16 
below shw. This form was inspired y the traditionl Sotho - Tswan stlent ype as en i erly explortin sketches in fig 8 - 
3. The same spatil plning was aoptd s in the previus tge.
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 Fig 8 - 17 above shows tructural exploration for the building, and fig 8 - 18 below shows photgraphs of the model built at his tage of 
the design prcs.
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 93
 Fig 8 - 19 to the lft is a sketch showing the 
building in its imedit context. This is 
one of the sketchs used in planing the 
mvmnt within the builing. The sketch 
also shos ho th uildin sits in contxt 
nd thus rders external urban space.
 fig 8 - 20 above is one of the sketches used 
in designig difernt cmponnts of th 
builin.
 Fig 8 - 21 below shows exploration of 
elvations at difernt phass f this tage
a
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9.0       .        .        .        .        .        .        .         .        .
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10.0 final design     .     .     .     .     .     .      .      .      .      .
     
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 The pictures on this page show computer genrated thre dimensional modeling of the building from difernt sides.
10.0 final design     .     .     .     .     .     .      .      .      .      .
     
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 Photgraphs on this page show the model of the building with its imediate context. Pictures by author.
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 10.0       .       .       .       .       .       .       .        .       .       .
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