HonoursVirtual Exhibition Booklet Final Draft

Virtual Architecture




Exhibition












































August 2020

Virtual Architecture Exhibition
2020


Exhibition and Book curated and edited by: Mike Louw,
Mayankh Ramasar, Darren Berlein, Sebastian Hitchcock and Gabriella Schukor.





















This is a showcase of the students architectural design work as a
virtual walk-through.
Studio?! A digital experience of the APG UCT BAS(Hons) studios: City of

In the time of a pandemic. Houses, Adapt!, Glocal and Occupy.

Corona-virus 19 has led to a change in the way in which we practice,
teach and present architecture. 2020 has seen the architecture
student cohort go digital!
This is a celebration of this new change of pace.


















20







20

Virtual Architecture Exhibition
2020


Exhibition and Book curated and edited by: Mike Louw,
Mayankh Ramasar, Darren Berlein, Sebastian Hitchcock and Gabriella Schukor.





















This is a showcase of the students architectural design work as a
virtual walk-through.
Studio?! A digital experience of the APG UCT BAS(Hons) studios: City of

In the time of a pandemic. Houses, Adapt!, Glocal and Occupy.

Corona-virus 19 has led to a change in the way in which we practice,
teach and present architecture. 2020 has seen the architecture
student cohort go digital!
This is a celebration of this new change of pace.


















20







20

Andre Coetzee Gabriella Shukor



Annie Bisschoff Wayne Parker


Camila McCormack Hannah Mullins


Devon Vos Martiens Maritz



Garryn Stevens Cornelus van der Nest



Gregory Alexander Doug Bryant


Harnish Patel Jessica Huang


Liam Leonard Bongi Sithole



Lyla Hoon Keerathi Patel



Nathan Eisen Masego Mogashoa


Tapiwe Mbire Motheo Motlhabi


Kawthar Jeewa Mpho Sephelane



Odd Persson Nicola Hardie



Rachel Myburgh Samke Kunene


Aalia Humdalay Treasa McMillan


Anika Hanekom Tiego Moareng
BAS(Honours) studio electives 2020

Floris Thirion Omid Pournejati


University of Cape Town Carel Coetzee David John van As
School of Architecture, Geomatics and Planning

Shazia Ebrahim Sisonke Mgwebi


Raheema Parker Thando Phenyane

Andre Coetzee Gabriella Shukor



Annie Bisschoff Wayne Parker


Camila McCormack Hannah Mullins


Devon Vos Martiens Maritz



Garryn Stevens Cornelus van der Nest



Gregory Alexander Doug Bryant


Harnish Patel Jessica Huang


Liam Leonard Bongi Sithole



Lyla Hoon Keerathi Patel



Nathan Eisen Masego Mogashoa


Tapiwe Mbire Motheo Motlhabi


Kawthar Jeewa Mpho Sephelane



Odd Persson Nicola Hardie



Rachel Myburgh Samke Kunene


Aalia Humdalay Treasa McMillan


Anika Hanekom Tiego Moareng
BAS(Honours) studio electives 2020

Floris Thirion Omid Pournejati


University of Cape Town Carel Coetzee David John van As
School of Architecture, Geomatics and Planning

Shazia Ebrahim Sisonke Mgwebi


Raheema Parker Thando Phenyane

Studio Glocal Studio Adapt! Zanzibar



01 Imizamo Community Hub Andre Coetzee 25 The Liminal Bridge Cornelus van der Herst

02 Urban Agricultural Hub Annie Bisschoff 26 The Cinematic Ghost Doug Bryant
03 Imizamo Yethu Interface Camilla McCormack 27 Inversion Jessica Huang
04 IY Interchange: Sports, Transport, Community Devon Vos 28 Outside (In) Bongi Sithole
05 Hout Bay Interface Garryn Stephens 29 The Void Through Inversion Keerathi Patel
06 Community, Training and Afterschool Centre Gregory Alexander 30 Architecture for the Audience Masego Mogashoa

07 Food : Health : Sports Harnish Patel 31 Memory Through Craftsmanship Motheo Motlhabi
08 Amanzi Interface Liam Leonard 32 Majestic Memories Mpho Sephelane
09 Eyethu Vocational Training Centre Lyla Hoon 33 Walking as a Tool for Design Nicola Hardie

10 Interface Nathan Eisen 34 The Female Perception of Stone Town Samke Kunene
11 The Uplift - Urban Agricultural Facility Tapiwa Mbire 35 The Majestic Cinema Treasa McMillan
12 Interface: The Middle Ground Kawthar Jeewa 36 The Capsule: Memories of Film Tiego Monareng
13 Imizamo Yethu Odd Persson 37 Magnificent Cinema Omid Pournejati
14 The Hout Bay Sports Park Rachel Myburgh













City of Houses Studio Occupy



15 Safety Between Housing Aalia Humdulay 38 The Fish Market David John van As
16 The Home Unit as an Income Generator Anika Hanekom 39 Food in The City Sisonke Mgwebi
17 Pedestrian Village Floris Thirion 40 Urban Marginality Thando Phenyane

18 Cottage Industry Reimagined Carel Coetzee
19 Safe Haven: Langa Shazia Ebrahim
20 Langa Collective Raheema Parker
21 Housing [+] Gabriella Shukor

22 Forward Thinking Housing Wayne Parker
23 Third Housing Hannah Mullins
24 Community Development & Improvement Martiens Maritz

Studio Glocal Studio Adapt! Zanzibar



01 Imizamo Community Hub Andre Coetzee 25 The Liminal Bridge Cornelus van der Herst

02 Urban Agricultural Hub Annie Bisschoff 26 The Cinematic Ghost Doug Bryant
03 Imizamo Yethu Interface Camilla McCormack 27 Inversion Jessica Huang
04 IY Interchange: Sports, Transport, Community Devon Vos 28 Outside (In) Bongi Sithole
05 Hout Bay Interface Garryn Stephens 29 The Void Through Inversion Keerathi Patel
06 Community, Training and Afterschool Centre Gregory Alexander 30 Architecture for the Audience Masego Mogashoa

07 Food : Health : Sports Harnish Patel 31 Memory Through Craftsmanship Motheo Motlhabi
08 Amanzi Interface Liam Leonard 32 Majestic Memories Mpho Sephelane
09 Eyethu Vocational Training Centre Lyla Hoon 33 Walking as a Tool for Design Nicola Hardie

10 Interface Nathan Eisen 34 The Female Perception of Stone Town Samke Kunene
11 The Uplift - Urban Agricultural Facility Tapiwa Mbire 35 The Majestic Cinema Treasa McMillan
12 Interface: The Middle Ground Kawthar Jeewa 36 The Capsule: Memories of Film Tiego Monareng
13 Imizamo Yethu Odd Persson 37 Magnificent Cinema Omid Pournejati
14 The Hout Bay Sports Park Rachel Myburgh













City of Houses Studio Occupy



15 Safety Between Housing Aalia Humdulay 38 The Fish Market David John van As
16 The Home Unit as an Income Generator Anika Hanekom 39 Food in The City Sisonke Mgwebi
17 Pedestrian Village Floris Thirion 40 Urban Marginality Thando Phenyane

18 Cottage Industry Reimagined Carel Coetzee
19 Safe Haven: Langa Shazia Ebrahim
20 Langa Collective Raheema Parker
21 Housing [+] Gabriella Shukor

22 Forward Thinking Housing Wayne Parker
23 Third Housing Hannah Mullins
24 Community Development & Improvement Martiens Maritz

Studio Glocal














Elective Lead: Michael Louw





This studio explores the tensions that exist between global
and localised ways of designing and making architecture
in Africa. The enquiry is of a socio-technical nature and
it encourages a critical understanding of innovative
contemporary architectural strategies that are specifically
appropriate to the African contect, and where global and
localised ways of making are purposefully combines.

Themes include, amongst others, collage as a method, the
appropriate use of technology, the use of local materials and
labour, skill building, the incorporation of memory, identity,
and the concept of hybridity. The studio is related to the
seminar elective Appropriate Technologies, but it focusses
more on the prototypung, interpretation and implementation
of strategies and appropriate technologies.

The themes mentioned above are tested through research
and speculative design proposition. Students completed four
projects. 1. A short design and prototyping project with the
statement of Studio Adapt!, 2. A materials research project
in Hout Bay, 3. The design of a Community Hub building in
Imizamo Yethu, and 4. The design of a larger building on and
around the Imizamo Yethu sports fields.



Studio partners:
Kenny Tokwe (IY community leader and social worker)
Priscilla Jansen (HB Association for People with Disabilities)
The Cape Institute for Architecture


Studio Collaborators and visitors:
Simon Galland (Collectif Saga, Fance and South Africa)
Mark O’Connor and Alessio Maffeo (Rothoblaas, Italy)
Lawden Holmes (Eyethu Skatepark and UCT)

With thanks to the community of Imizamo Yethu

Studio Glocal














Elective Lead: Michael Louw





This studio explores the tensions that exist between global
and localised ways of designing and making architecture
in Africa. The enquiry is of a socio-technical nature and
it encourages a critical understanding of innovative
contemporary architectural strategies that are specifically
appropriate to the African contect, and where global and
localised ways of making are purposefully combines.

Themes include, amongst others, collage as a method, the
appropriate use of technology, the use of local materials and
labour, skill building, the incorporation of memory, identity,
and the concept of hybridity. The studio is related to the
seminar elective Appropriate Technologies, but it focusses
more on the prototypung, interpretation and implementation
of strategies and appropriate technologies.

The themes mentioned above are tested through research
and speculative design proposition. Students completed four
projects. 1. A short design and prototyping project with the
statement of Studio Adapt!, 2. A materials research project
in Hout Bay, 3. The design of a Community Hub building in
Imizamo Yethu, and 4. The design of a larger building on and
around the Imizamo Yethu sports fields.



Studio partners:
Kenny Tokwe (IY community leader and social worker)
Priscilla Jansen (HB Association for People with Disabilities)
The Cape Institute for Architecture


Studio Collaborators and visitors:
Simon Galland (Collectif Saga, Fance and South Africa)
Mark O’Connor and Alessio Maffeo (Rothoblaas, Italy)
Lawden Holmes (Eyethu Skatepark and UCT)

With thanks to the community of Imizamo Yethu

04 IY Interchange: Where sports,
transport and community meet
Devon Vos
01 Imizamo Yethu Community Hub The Imizamo Yethu interchange is a building that intends to
Andre Coetzee house and accommodate an array of community desires.
Engagement with leaders in IY highlighted the need for
A community hub building that makes use of containers and a a multidimensional building where community meetings,
folded roof structure. exercise classes and the local economy can be held and
flourish.

The built response to this question has resulted in the
development of a building which is sensitive to the site’s
natural identity, yet provides space for the co-mingling of local
soccer players, informal traders and community-connecting
Imizamo Yethu to the rest of Cape Town.










04






03 Imizamo Yethu Interface
Camilla McCormack

The slope of Imizamo Yethu brings many challenges: lack
of wastewater disposal infrastructure and planting space for
food.

The project aims to clean water entering the river, connect
people with natural systems and provide planting space on
fertile ground. These interventions would provide emotional
01 and physical wellbeing, unification along common practice
and agency in food security.








02 Urban Agricultural Hub
Annie Bisschoff

The social and economic inequalities within the urban fabric
of Imizamo Yethu are not only visible but undeniable when
compared to its neighbours within Hout Bay. Throughout the
project a concept of adaptability as a sustainable practice is
introduced and explored in order to address these challenges.
This concept of continual adaptability extends to various facets
such as the community, programme, structure, materiality,
ecological/natural features as well as food security.

The main project is based around an ecological and socially
sustainable agricultural hub which would contribute to the
community of both Imizamo Yethu and Hout Bay.
03
02

04 IY Interchange: Where sports,
transport and community meet
Devon Vos
01 Imizamo Yethu Community Hub The Imizamo Yethu interchange is a building that intends to
Andre Coetzee house and accommodate an array of community desires.
Engagement with leaders in IY highlighted the need for
A community hub building that makes use of containers and a a multidimensional building where community meetings,
folded roof structure. exercise classes and the local economy can be held and
flourish.

The built response to this question has resulted in the
development of a building which is sensitive to the site’s
natural identity, yet provides space for the co-mingling of local
soccer players, informal traders and community-connecting
Imizamo Yethu to the rest of Cape Town.










04






03 Imizamo Yethu Interface
Camilla McCormack

The slope of Imizamo Yethu brings many challenges: lack
of wastewater disposal infrastructure and planting space for
food.

The project aims to clean water entering the river, connect
people with natural systems and provide planting space on
fertile ground. These interventions would provide emotional
01 and physical wellbeing, unification along common practice
and agency in food security.








02 Urban Agricultural Hub
Annie Bisschoff

The social and economic inequalities within the urban fabric
of Imizamo Yethu are not only visible but undeniable when
compared to its neighbours within Hout Bay. Throughout the
project a concept of adaptability as a sustainable practice is
introduced and explored in order to address these challenges.
This concept of continual adaptability extends to various facets
such as the community, programme, structure, materiality,
ecological/natural features as well as food security.

The main project is based around an ecological and socially
sustainable agricultural hub which would contribute to the
community of both Imizamo Yethu and Hout Bay.
03
02

05 Hout Bay Interface 07 Food : Health : Sports
Garryn Stephens Harnish Patel

The interfaces at the cardo-decumanus intersection of Hout This project focuses on creating a community centre through
Bay Main Rd (a perceived entry-point of HB from the city), the integration of three functions being food, health and sports,
fram a place with the latent potential to be a (more equitable which form as a need for the surrounding communities.
and unifying) microcosm of city-life in itself. The site, using
port and community activities, already holds this potential. The building designs focused on the harnessing of solar gains
The design proposed an Active-Box with a porous ground- and water through the roof design and structure which creates
level, to hold the corner of the intersection: responding to spaces for sports, growing, learning and health.
movement, introducing scale, a beacon for orientation and a
safe zone.

A linear street-edge market aims to reconnect the site to the
street activity and surveillance, held centrally by a formalised
bus-stop and public ablutions. The book-end methane-
processing plant suggests the utilisation of bio-waste
produced from a U.K waterless toilet system innovation. This
plant would convert the waste (gathered from site and the
communities) to bio-gas as well as fertilizer, to be farmed
on site allotments near the river bank to potentially provide
produce to part of the market.









07








05
06 Community Centre, Vocational
Training and Afterschool Centre
Gregory Alexander

Hout bay is seen as a microcosm of the complexities created
through apartheid spatial segregation in South Africa. Imizamo
Yethu is a heavily underserviced township within Hout Bay
that is in dire need of community spaces.

The project investigates how architecture could aid this 08 Amanzi Interface
community in their struggle toward alleviating poverty through Liam Leonard
education. The project aims to provide vocational training
and an afterschool resource space to help curb high school Amanzi Interface is a low impact structure extruded out of
dropout rates and upskill members of the community. the Hout Bay landscape for the Hout Bay residences. The
multipurpose program intends to uplift and be inclusive of the
people and environment of Hout Bay stitching together the
numerous stake holders together via these strong rammed
earth walls.

This interface grows off of a central water purification
path, taking the contaminated water from the surrounding
communities and returning it to the wetlands free of pollutants
in exchange for an abundance of urban agricultural produce.

06 08

05 Hout Bay Interface 07 Food : Health : Sports
Garryn Stephens Harnish Patel

The interfaces at the cardo-decumanus intersection of Hout This project focuses on creating a community centre through
Bay Main Rd (a perceived entry-point of HB from the city), the integration of three functions being food, health and sports,
fram a place with the latent potential to be a (more equitable which form as a need for the surrounding communities.
and unifying) microcosm of city-life in itself. The site, using
port and community activities, already holds this potential. The building designs focused on the harnessing of solar gains
The design proposed an Active-Box with a porous ground- and water through the roof design and structure which creates
level, to hold the corner of the intersection: responding to spaces for sports, growing, learning and health.
movement, introducing scale, a beacon for orientation and a
safe zone.

A linear street-edge market aims to reconnect the site to the
street activity and surveillance, held centrally by a formalised
bus-stop and public ablutions. The book-end methane-
processing plant suggests the utilisation of bio-waste
produced from a U.K waterless toilet system innovation. This
plant would convert the waste (gathered from site and the
communities) to bio-gas as well as fertilizer, to be farmed
on site allotments near the river bank to potentially provide
produce to part of the market.









07








05
06 Community Centre, Vocational
Training and Afterschool Centre
Gregory Alexander

Hout bay is seen as a microcosm of the complexities created
through apartheid spatial segregation in South Africa. Imizamo
Yethu is a heavily underserviced township within Hout Bay
that is in dire need of community spaces.

The project investigates how architecture could aid this 08 Amanzi Interface
community in their struggle toward alleviating poverty through Liam Leonard
education. The project aims to provide vocational training
and an afterschool resource space to help curb high school Amanzi Interface is a low impact structure extruded out of
dropout rates and upskill members of the community. the Hout Bay landscape for the Hout Bay residences. The
multipurpose program intends to uplift and be inclusive of the
people and environment of Hout Bay stitching together the
numerous stake holders together via these strong rammed
earth walls.

This interface grows off of a central water purification
path, taking the contaminated water from the surrounding
communities and returning it to the wetlands free of pollutants
in exchange for an abundance of urban agricultural produce.

06 08

09





11
09
09 Eyethu Vocational Training Centre
Lyla Hoon

The Eyethu Vocational Training Centre is designed to
accommodate current needs in Imizamo Yethu relating to
skills development and opportunities.
10 Interface
The design is grounded in research concerning appropriate
technologies and existing systems in place. The project is Nathan Eisen
made sustainable in economic as well as ecological aspects.
The understanding of the social habits of IY informed the proj-
Through careful interrogation of existing skills in IY needing ect to follow, Interface. An understanding of pedestrian routes
opportunity and venue, the centre is designed to be specialized along the site resulted in attention to the enhancement of the
and unique to IY. By incorporating a visitor’s centre containing street edge leading into a building that serves as day-care
a café and shop, the centre is connected to the rest of the and aftercare, while parents venture to work.
surrounding Hout Bay area.
Further intention is for the activation of the site in the morning
with the opportunity for these flexible spaces to have contin-
ued use after hours and on weekends, for adults and children
alike.
11

11 THE UPLIFT - Urban Agricultural
Facility

Tapiwa Mbire


The work has been conducted within Imizamo Yethu,
an informal settlement on the periphery of Hout bay. My
explorations and research have been guided by an intention
to create connections between a vast array of polar entities.
Glocal has facilitated for me, an engagement between the old
and new, rich, and poor, natural and manmade.

Navigating the realms of these physical and meta-physical
dualities has materialized in a hybridity of form that holds the
intent to benefit the livelihood of the prescribed users.
10

09





11
09
09 Eyethu Vocational Training Centre
Lyla Hoon

The Eyethu Vocational Training Centre is designed to
accommodate current needs in Imizamo Yethu relating to
skills development and opportunities.
10 Interface
The design is grounded in research concerning appropriate
technologies and existing systems in place. The project is Nathan Eisen
made sustainable in economic as well as ecological aspects.
The understanding of the social habits of IY informed the proj-
Through careful interrogation of existing skills in IY needing ect to follow, Interface. An understanding of pedestrian routes
opportunity and venue, the centre is designed to be specialized along the site resulted in attention to the enhancement of the
and unique to IY. By incorporating a visitor’s centre containing street edge leading into a building that serves as day-care
a café and shop, the centre is connected to the rest of the and aftercare, while parents venture to work.
surrounding Hout Bay area.
Further intention is for the activation of the site in the morning
with the opportunity for these flexible spaces to have contin-
ued use after hours and on weekends, for adults and children
alike.
11

11 THE UPLIFT - Urban Agricultural
Facility

Tapiwa Mbire


The work has been conducted within Imizamo Yethu,
an informal settlement on the periphery of Hout bay. My
explorations and research have been guided by an intention
to create connections between a vast array of polar entities.
Glocal has facilitated for me, an engagement between the old
and new, rich, and poor, natural and manmade.

Navigating the realms of these physical and meta-physical
dualities has materialized in a hybridity of form that holds the
intent to benefit the livelihood of the prescribed users.
10

12 Interface: Creating Middle Ground 14 Hout Bay Sports Park

Kawthar Jeewa Rachel Myburgh


Interface: Creating middle ground, rejuvenates the Disa The Hout Bay Spots Park’s main design program is an
river and marshland at the lower end of Hout Bay. It offers indoor sports facility. This facility has been designed to
to community members of Imizamo Yethu and Hout Bay a national indoor sports specification, which can accommodate
sustainable unit of agriculture, commerce, and an early provincial, inter-provincial, national and even international
childhood development centre. This project aims to educate sporting tournaments. This space has the opportunity to
about locally sourced food, water harvesting and the generate profit, therefore allowing continued growth and
sustainable practice of Permaculture. maintenance of the site. The greater scheme focusses on
growing the existing infrastructure.

Developing comfortable spectators seating, incorporating
ramps to make all activities fully accessible to the disabled.
Ramps are also used as a way of integrating the existing
skate park. Providing an opportunity for skaters, cyclists and
so on to weave in and around the site comfortably. 14
12
The Hout Bay Sports Park acts as the common ground within
Hout Bay’s divided community. The node represents more
than extracting talented sportsman/woman, but also a safe
space where interaction of people from all walks of life can
13 Imizamo Yethu grow and learn together. This should develop more respect
and a better understanding of the rife inequality within their
Odd Persson community. the friendships and respect gained will integrate
the community and slow positive change should prevail.

This major project has the potential of being an independent
ecosystem run by the community for the community. The
infrastructure allows for disaster relief to roll out across the
soccer fields and supports the community in the aftermath
of distressed scenarios such as natural disasters. It also
accommodates aspects across all the six wellbeing’s of life
aspiring to a healthy lifestyle.







































13 14

12 Interface: Creating Middle Ground 14 Hout Bay Sports Park

Kawthar Jeewa Rachel Myburgh


Interface: Creating middle ground, rejuvenates the Disa The Hout Bay Spots Park’s main design program is an
river and marshland at the lower end of Hout Bay. It offers indoor sports facility. This facility has been designed to
to community members of Imizamo Yethu and Hout Bay a national indoor sports specification, which can accommodate
sustainable unit of agriculture, commerce, and an early provincial, inter-provincial, national and even international
childhood development centre. This project aims to educate sporting tournaments. This space has the opportunity to
about locally sourced food, water harvesting and the generate profit, therefore allowing continued growth and
sustainable practice of Permaculture. maintenance of the site. The greater scheme focusses on
growing the existing infrastructure.

Developing comfortable spectators seating, incorporating
ramps to make all activities fully accessible to the disabled.
Ramps are also used as a way of integrating the existing
skate park. Providing an opportunity for skaters, cyclists and
so on to weave in and around the site comfortably. 14
12
The Hout Bay Sports Park acts as the common ground within
Hout Bay’s divided community. The node represents more
than extracting talented sportsman/woman, but also a safe
space where interaction of people from all walks of life can
13 Imizamo Yethu grow and learn together. This should develop more respect
and a better understanding of the rife inequality within their
Odd Persson community. the friendships and respect gained will integrate
the community and slow positive change should prevail.

This major project has the potential of being an independent
ecosystem run by the community for the community. The
infrastructure allows for disaster relief to roll out across the
soccer fields and supports the community in the aftermath
of distressed scenarios such as natural disasters. It also
accommodates aspects across all the six wellbeing’s of life
aspiring to a healthy lifestyle.







































13 14

City of Houses










Flexibility as mediator of the dialectic between built form and lived experience.


Elective Lead: Sonja Petrus Spamer
Teaching Assistants: Mayankh Ramasar + Sebastian Hitchcock



The City of Houses Studio deals with the reality of
architecture, building technology, urban design, and in
particular, with the lived reality of inhabitants. We critically
explore the tension between the built form and lived
experience: between residents, the buildings, authorities and
professionals. This dialectic is the basis of Lefebvre’s triadic
model for the production of space. Our focus is to understand
the value of flexible-housing as mediator of this dialectic.

Post occupancy evaluation, conducted via community and
stake holder engagement, is a vital tool to unpack the tension
between people and their housing. Prior to doing their field
work, students are offered prerequisite lectures on issues
of housing in general, and the history and contemporary
conditions of New Flats Hostels, in Langa, specifically. Why
a migrant labour hostel? Because two capital cities in South
Africa will be mega cities by 2040. When cities swell to 10
million, the majority of citizens may still be without appropriate
housing. Can we afford continued discord between people
and homes at this gigantean scale? To address this issue,
we critically analysed user transformed space in Langa, a
township designed as a housing experiment in Cape Town
in 1925.

Langa is an ideal case study with origins as an experimental
Garden City Suburb for migrant workers. Langa has a range
of workers’ housing typologies reflecting post WWI global
architectural ideas locally modified. As apartheid policies
intensified more minimum standard dormitories were
built here. In response to unbearable apartheid housing
conditions, inhabitants played an active part in transforming
the built environment of Langa. We find traces of residents
led transformations of housing in Langa. Located only 12kms
from the Cape Town CBD Langa has been an important
reception and catalytic environment for migrants, in search
of opportunities in Cape Town, over the last 100 years.
The City of Houses Studio seeks to support the citizen led
transformation that Langa is known for.

We enacted ideas of flexibility in the pedagogy: the studio as
horizontal, building relationality between university knowl-
edge and lived experience of students, with the studio lead
team as mediators. This allowed fairly seamless change
from the physical design studio and COVID initiated online
design studio space; possibly also between visceral post
occupancy.

City of Houses










Flexibility as mediator of the dialectic between built form and lived experience.


Elective Lead: Sonja Petrus Spamer
Teaching Assistants: Mayankh Ramasar + Sebastian Hitchcock



The City of Houses Studio deals with the reality of
architecture, building technology, urban design, and in
particular, with the lived reality of inhabitants. We critically
explore the tension between the built form and lived
experience: between residents, the buildings, authorities and
professionals. This dialectic is the basis of Lefebvre’s triadic
model for the production of space. Our focus is to understand
the value of flexible-housing as mediator of this dialectic.

Post occupancy evaluation, conducted via community and
stake holder engagement, is a vital tool to unpack the tension
between people and their housing. Prior to doing their field
work, students are offered prerequisite lectures on issues
of housing in general, and the history and contemporary
conditions of New Flats Hostels, in Langa, specifically. Why
a migrant labour hostel? Because two capital cities in South
Africa will be mega cities by 2040. When cities swell to 10
million, the majority of citizens may still be without appropriate
housing. Can we afford continued discord between people
and homes at this gigantean scale? To address this issue,
we critically analysed user transformed space in Langa, a
township designed as a housing experiment in Cape Town
in 1925.

Langa is an ideal case study with origins as an experimental
Garden City Suburb for migrant workers. Langa has a range
of workers’ housing typologies reflecting post WWI global
architectural ideas locally modified. As apartheid policies
intensified more minimum standard dormitories were
built here. In response to unbearable apartheid housing
conditions, inhabitants played an active part in transforming
the built environment of Langa. We find traces of residents
led transformations of housing in Langa. Located only 12kms
from the Cape Town CBD Langa has been an important
reception and catalytic environment for migrants, in search
of opportunities in Cape Town, over the last 100 years.
The City of Houses Studio seeks to support the citizen led
transformation that Langa is known for.

We enacted ideas of flexibility in the pedagogy: the studio as
horizontal, building relationality between university knowl-
edge and lived experience of students, with the studio lead
team as mediators. This allowed fairly seamless change
from the physical design studio and COVID initiated online
design studio space; possibly also between visceral post
occupancy.

16 The Home Unit as an Income
Generator
Anika Hanekom

Can flexibility in housing design act as an effective strategy
to reduce poverty?

My project explores ways in which a unit uses the formal
street, existing informal street culture and the space in
between to generate income to create a financially self-
sustaining community.


16





















17 Pedestrian Village
Floris Thirion Through adopting a more organic site layout (freed from
the existing grid and inspired by incremental and informal
The overall housing backlog is currently in excess of 550,000 neighbourhoods), the site is transformed into an urban
across the Western Cape, with more than 300,000 of these in playground. Different routes, levels, pedestirian ‘streets and
the City of Cape Town. My project aims to challenge Langa’s courtyards make for a more livable space that encourages
current building policies, by proposing a radical solution the public to occupy, whilst dense clusters of vertical villages
that would encourage denser communities and vertical are scattered throughout.
expansion.
15
15 Safety Between Housing
Aalia Humdalay

The scheme accommodates for the safety of its res-
idents journeying from their doorstep to the public
realm. This stemmed from the various lived realities of
the people of Langa.

The program consists of inclusive housing, an ECD
which includes a vegetable garden and an after-
school, a water-platform, as well as various forms of
trade – both formal and informal to ensure economic
empowerment for the people of Langa.

The programming was formulated from a network of
social and spatial systems that promote safety through
visibility, boundaries, and various modes of enclosure.
The phenomenology and production of space com-
municates consciousness and culture. This is done in
order to promote the overall well-being and resilience
of the residents of Langa.
15 14
17

16 The Home Unit as an Income
Generator
Anika Hanekom

Can flexibility in housing design act as an effective strategy
to reduce poverty?

My project explores ways in which a unit uses the formal
street, existing informal street culture and the space in
between to generate income to create a financially self-
sustaining community.


16





















17 Pedestrian Village
Floris Thirion Through adopting a more organic site layout (freed from
the existing grid and inspired by incremental and informal
The overall housing backlog is currently in excess of 550,000 neighbourhoods), the site is transformed into an urban
across the Western Cape, with more than 300,000 of these in playground. Different routes, levels, pedestirian ‘streets and
the City of Cape Town. My project aims to challenge Langa’s courtyards make for a more livable space that encourages
current building policies, by proposing a radical solution the public to occupy, whilst dense clusters of vertical villages
that would encourage denser communities and vertical are scattered throughout.
expansion.
15
15 Safety Between Housing
Aalia Humdalay

The scheme accommodates for the safety of its res-
idents journeying from their doorstep to the public
realm. This stemmed from the various lived realities of
the people of Langa.

The program consists of inclusive housing, an ECD
which includes a vegetable garden and an after-
school, a water-platform, as well as various forms of
trade – both formal and informal to ensure economic
empowerment for the people of Langa.

The programming was formulated from a network of
social and spatial systems that promote safety through
visibility, boundaries, and various modes of enclosure.
The phenomenology and production of space com-
municates consciousness and culture. This is done in
order to promote the overall well-being and resilience
of the residents of Langa.
15 14
17

19 Safe Haven: Langa
Shazia Ebrahim

The project takes place in the township of Langa, where I
explore flexible housing methods that could possibly act as a
prototype for the future of housing projects.

A series of interviews and post occupancy evaluations
resulted in the discovery of families sharing tight spaces and
strangers having to share the entire small unit. Privacy, safety
of their belongings and children were the main concern. I am
proposing a Youth Centre, which includes a multi-purpose
hall and classrooms, retail spaces and housing – made up
of basic unit type and a shared unit type. I will explore the
flexibility of each of these and their ability to become housing
overtime.








20 Langa Collective
Raheema Parker
18
The Langa Collective is concerned with designing and
18 Cottage Industry Reimagined creating safe, appropriately scaled and activated spaces that
Carel Coetzee are conscious of the unique needs of all its residents.

This project explores flexibility and opportunity as a This architectural response emerged from collective
community network of live-work housing units. conversations with residents of Langa and the New Hostels
Development about details of their positive and negative
The network aims to advance mutual support and growth experiences of living in the Hostels.
within the community by bridging local ingenuity and
government policy. The projects creates an environment 19 I attempted to achieve this by creating a hierarchical network
where skills can be matched, recourses shared and where of public spaces, varying in degrees of privacy, scale and
learning can take place. intimacy. Additionally, these spaces also vary in function in
order to provide safe spaces for children to play in Langa.
Special attention was given to the edge condition of the
courtyard (which is partly covered) in order to support multiple
programmes within, but also beyond its boundaries.































18 20

19 Safe Haven: Langa
Shazia Ebrahim

The project takes place in the township of Langa, where I
explore flexible housing methods that could possibly act as a
prototype for the future of housing projects.

A series of interviews and post occupancy evaluations
resulted in the discovery of families sharing tight spaces and
strangers having to share the entire small unit. Privacy, safety
of their belongings and children were the main concern. I am
proposing a Youth Centre, which includes a multi-purpose
hall and classrooms, retail spaces and housing – made up
of basic unit type and a shared unit type. I will explore the
flexibility of each of these and their ability to become housing
overtime.








20 Langa Collective
Raheema Parker
18
The Langa Collective is concerned with designing and
18 Cottage Industry Reimagined creating safe, appropriately scaled and activated spaces that
Carel Coetzee are conscious of the unique needs of all its residents.

This project explores flexibility and opportunity as a This architectural response emerged from collective
community network of live-work housing units. conversations with residents of Langa and the New Hostels
Development about details of their positive and negative
The network aims to advance mutual support and growth experiences of living in the Hostels.
within the community by bridging local ingenuity and
government policy. The projects creates an environment 19 I attempted to achieve this by creating a hierarchical network
where skills can be matched, recourses shared and where of public spaces, varying in degrees of privacy, scale and
learning can take place. intimacy. Additionally, these spaces also vary in function in
order to provide safe spaces for children to play in Langa.
Special attention was given to the edge condition of the
courtyard (which is partly covered) in order to support multiple
programmes within, but also beyond its boundaries.































18 20

21 Housing [+]
Gabriella Shukor

Housing [+] is a project that centres itself around building
capacity in Langa.

This is explored through the building system, using double-
loaded corridors that provide units at a higher capacity but
still provides diversity through social pockets, public interface,
and programs within the housing scheme.

The strategy aims to provide higher quality living for its
inhabitants by focusing on safety for children, economic
opportunity as well as flood resilience – issues that are
prevalent to the dwellers of the New Hostels Development.







21






23
23 Third Housing
Hannah Mullins

A connected, shared-spaces, movement system - promoting
22 Forward Thinking Housing pause, encounter and community, through threshold.
Wayne Parker

A design scheme that addresses the current state of housing 24 Community Development &
in Langa. It serves as a proposal for a new housing typology Improvemement
which responds to the population influx, transformation and
adaptability of building, and local economic empowerment. Martiens Maritz

The design intervention looks at responsive architectural
The design combines housing development with a safer urban
environment with new social and economic opportunities, as solutions in pursuit of repairing past social injustice. The
well as providing access and delivery of basic needs. project is based in Langa, one of Cape Town’s many
neglected suburbs which stems from years of suppression
Funding restrictions for construction provides opportunity for 23 and exploitation. The project proposes a series of design
the public realm to become the larger living room. Forming a solutions to combat site specific problems while enabling
neighbourliness of community directs my responsible urban development.
The intervention responds to the need for global densification
and demand for affordable housing, enabling fluctuating
family sizes while considering social and economic
requirements.

















22
24 24

21 Housing [+]
Gabriella Shukor

Housing [+] is a project that centres itself around building
capacity in Langa.

This is explored through the building system, using double-
loaded corridors that provide units at a higher capacity but
still provides diversity through social pockets, public interface,
and programs within the housing scheme.

The strategy aims to provide higher quality living for its
inhabitants by focusing on safety for children, economic
opportunity as well as flood resilience – issues that are
prevalent to the dwellers of the New Hostels Development.







21






23
23 Third Housing
Hannah Mullins

A connected, shared-spaces, movement system - promoting
22 Forward Thinking Housing pause, encounter and community, through threshold.
Wayne Parker

A design scheme that addresses the current state of housing 24 Community Development &
in Langa. It serves as a proposal for a new housing typology Improvemement
which responds to the population influx, transformation and
adaptability of building, and local economic empowerment. Martiens Maritz

The design intervention looks at responsive architectural
The design combines housing development with a safer urban
environment with new social and economic opportunities, as solutions in pursuit of repairing past social injustice. The
well as providing access and delivery of basic needs. project is based in Langa, one of Cape Town’s many
neglected suburbs which stems from years of suppression
Funding restrictions for construction provides opportunity for 23 and exploitation. The project proposes a series of design
the public realm to become the larger living room. Forming a solutions to combat site specific problems while enabling
neighbourliness of community directs my responsible urban development.
The intervention responds to the need for global densification
and demand for affordable housing, enabling fluctuating
family sizes while considering social and economic
requirements.

















22
24 24

Studio Adapt!







Zanzibar











Elective Lead: Stella Papanicolaou

Assistance by Mike Scurr (Rennie Scurr Adendorf)


The Majestic Cinema, on the periphery of Stone Town, We enacted ideas of flexibility in the pedagogy: the studio as
Zanzibar, is one of Africa’s first cinemas. The original 1920s horizontal, building relationality
building was designed by the British architect John Sinclair. between university knowledge and lived experience of
After burning to the ground in 1952 it was rebuilt to an Art students, with the studio lead team as
Deco gem designed by the local architect, of Indian descent, mediators. This allowed fairly seamless change from the
Dayaliji Pitamber Sachana. Now in a state of ruin, the physical design studio and COVID initiated online
building is under threat of structural failure. The intention of design studio space; possibly also between visceral post
Studio Adapt was to reimagine the cinema building and its occupancy
precinct, as a Culture Hub for film and music festivals. A
five-day workshop session in Zanzibar, scheduled for the
vacation week, was cancelled due to the pandemic. The
students therefore had to rely on zoom conversations and
written interviews to engage with stakeholders, and on online
resources to piece together the urban fabric and the plans of
the building.

Facilitated by Berend van der Lans and Iga Perzyna of
African Architecture Matters (AAmatters) the studio engaged
with the four major stakeholders and potential users who are
in the process of forming a trust to save the building. The
Majestic Cinema Trust is comprised of the following project
partners: Hifadhi Zanzibar, for the preservation of material
culture, Busara Promotions for music festivals, Reclaim
Women Space, and Zanzibar International Film Festival.
The design process involved: 1. Adapting a found object 1:1
with Studio Glocal, 2. Precedent studies, including virtual ‘site
visits’ with guest speakers 3. Mappings of the tangible and
intangible context, including the history of the film industry
in Zanzibar 4. Diagramming in relation to value systems
and significances, 5. Collage to explore the qualitative
relationships between the old and the new intervention and
6. 3D modelling and spatial analysis of the existing building.
The black-yellow-red drawing convention was used to
communicate what is retained (black), what erased (yellow)
and what is new (red) when studying precedent.

Studio Adapt!







Zanzibar











Elective Lead: Stella Papanicolaou

Assistance by Mike Scurr (Rennie Scurr Adendorf)


The Majestic Cinema, on the periphery of Stone Town, We enacted ideas of flexibility in the pedagogy: the studio as
Zanzibar, is one of Africa’s first cinemas. The original 1920s horizontal, building relationality
building was designed by the British architect John Sinclair. between university knowledge and lived experience of
After burning to the ground in 1952 it was rebuilt to an Art students, with the studio lead team as
Deco gem designed by the local architect, of Indian descent, mediators. This allowed fairly seamless change from the
Dayaliji Pitamber Sachana. Now in a state of ruin, the physical design studio and COVID initiated online
building is under threat of structural failure. The intention of design studio space; possibly also between visceral post
Studio Adapt was to reimagine the cinema building and its occupancy
precinct, as a Culture Hub for film and music festivals. A
five-day workshop session in Zanzibar, scheduled for the
vacation week, was cancelled due to the pandemic. The
students therefore had to rely on zoom conversations and
written interviews to engage with stakeholders, and on online
resources to piece together the urban fabric and the plans of
the building.

Facilitated by Berend van der Lans and Iga Perzyna of
African Architecture Matters (AAmatters) the studio engaged
with the four major stakeholders and potential users who are
in the process of forming a trust to save the building. The
Majestic Cinema Trust is comprised of the following project
partners: Hifadhi Zanzibar, for the preservation of material
culture, Busara Promotions for music festivals, Reclaim
Women Space, and Zanzibar International Film Festival.
The design process involved: 1. Adapting a found object 1:1
with Studio Glocal, 2. Precedent studies, including virtual ‘site
visits’ with guest speakers 3. Mappings of the tangible and
intangible context, including the history of the film industry
in Zanzibar 4. Diagramming in relation to value systems
and significances, 5. Collage to explore the qualitative
relationships between the old and the new intervention and
6. 3D modelling and spatial analysis of the existing building.
The black-yellow-red drawing convention was used to
communicate what is retained (black), what erased (yellow)
and what is new (red) when studying precedent.

27 Inversion
Jessica Huang

The Majestic Cinema in Stone Town, Zanzibar is a unique
Art Deco building that has fallen into disrepair. Although the
architectural language within Stone Town is a very diverse –
the Art Deco style was very rare.

Valuing the existing shell and its architectural style – my
intervention is radical internally but light towards its façade –
reinforcing the unique Art Deco elements present.

Within, a village of furniture creates a new way to experience
the cinema and events, the furniture takes cues and mimic
the elements (baraza benches, narrow alleyways and divers
forms) that make up the unique architectural language of
Stone Town.




25

25 The Liminal Bridge
Cornelus Van Der Nest
The music festival today breaking that barrier between old
This project bridged from the liminal process of watching a vs new is located at the threshold of the Majestic Cinema.
movie as an individual & taps into the liminal transformation This project aims to use concepts such as liminality
that Stone Town has undergone since the 1964 Revolution. through the use of the curtain that both divides and bridges
This pivoting point marks the barrier or buffer zone that once to express this social practice, but also to redefine what
divided the old part of Stone Town, where racial and economic a cinema black box could be. The project will also use
separation occurred, from the new modern N’gambo region polyvalency to satisfy the stakeholder requirements.
which was once inhabited by the urban poor.








27











26 The Cinematic Ghost
Doug Bryant

My approach to the Majestic Cinema was to acknowledge its
past and present, in order to negotiate with its future. The
juxtaposition of the angular and rigid elements of the façade
and spatial planning of the Majestic cinema, with the newly
inserted form suggests of an alternative spatial presence,
being the forgotten Royal Cinema.

The focus is to engage with the Majestic Cinema in a way that
embodies the experience of the user and performance as a
whole, creating a multicultural social space that will bring life
and purpose back into the cinema.

26 27

27 Inversion
Jessica Huang

The Majestic Cinema in Stone Town, Zanzibar is a unique
Art Deco building that has fallen into disrepair. Although the
architectural language within Stone Town is a very diverse –
the Art Deco style was very rare.

Valuing the existing shell and its architectural style – my
intervention is radical internally but light towards its façade –
reinforcing the unique Art Deco elements present.

Within, a village of furniture creates a new way to experience
the cinema and events, the furniture takes cues and mimic
the elements (baraza benches, narrow alleyways and divers
forms) that make up the unique architectural language of
Stone Town.




25

25 The Liminal Bridge
Cornelus Van Der Nest
The music festival today breaking that barrier between old
This project bridged from the liminal process of watching a vs new is located at the threshold of the Majestic Cinema.
movie as an individual & taps into the liminal transformation This project aims to use concepts such as liminality
that Stone Town has undergone since the 1964 Revolution. through the use of the curtain that both divides and bridges
This pivoting point marks the barrier or buffer zone that once to express this social practice, but also to redefine what
divided the old part of Stone Town, where racial and economic a cinema black box could be. The project will also use
separation occurred, from the new modern N’gambo region polyvalency to satisfy the stakeholder requirements.
which was once inhabited by the urban poor.








27











26 The Cinematic Ghost
Doug Bryant

My approach to the Majestic Cinema was to acknowledge its
past and present, in order to negotiate with its future. The
juxtaposition of the angular and rigid elements of the façade
and spatial planning of the Majestic cinema, with the newly
inserted form suggests of an alternative spatial presence,
being the forgotten Royal Cinema.

The focus is to engage with the Majestic Cinema in a way that
embodies the experience of the user and performance as a
whole, creating a multicultural social space that will bring life
and purpose back into the cinema.

26 27

28 Outside (In) 30 Architecture for the Audience
Bongi Sithole Masego Mogashoa

Baraza = a public meeting space My intent is to create a theatrical experience for the Audience
outside the barriers that we are accustomed to when attending
Stone Town. Notable for its narrow passageways events. The users of the space become the performers
interconnected by courtyards, here, people are encouraged themselves. The Audience is able to view and be viewed
and given space to gather. Complimented by natural light and simultaneously.
cool air, these spaces provide relied and an ideal sense of
community. Qualities such as these, ones that are familiar My design is centred around providing an experiential space
and widely used by the Zanzibar people, can be applied and that has possibilities of occupation before and after events.
adapted to e Majestic Cinema, re-establishing an abandoned, This space is also part of a journey to access other event
once former “cultural hub”, to become a one re-equipped venues scattered throughout the building.
and targeted to not only keep the attendance of the older
generation but to bring in a new gen. 28 There are logistical and servicing spaces (serving) on the
sides surrounding the even spaces and lobby divisions that
An Art Deco Cinema left exposed by a broken roof. My design are spatially eroded. The main event spaces include the
intention would be to take what is broken and to break it (quite Cinema Black Box, the Social Staircase, the Flexible Red
literally), splitting the roof and space underneath whilst carving Box, and the Rooftop.
our a new one. A “Baraza”, where the qualities mentioned 30
above will be informed and applied.

This intervention is one that will not only provide more activity
outside of movie-watching but will hopefully bring familiarity
and comfort to those that would potentially occupy the space.
Implementing local qualities to a historic building for adaptive
reusage.



















29 The Void Through Inversion
Keerathi Patel 31 Memory Through Craftsmanship
Motheo Motlhabi
The purpose of the project is to re-create the sense of
community that the cinema going culture in Zanzibar once This design project aims to understand the cultural and socio-
had. The design values the void of the building to cultivate the economic influences that craftsmanship has in Stone Town,
sense of community. Zanzibar. It investigates narratives that relate the film industry
to the art of making and questions its reinterpretation through
The contextual analysis focuses on the edge conditions that Architecture.
determine the quality of the void and is completed through a
mapping of Zanzibari thresholds. The building tectonic aims to celebrate local craftsmanship
available in Zanzibar and implement it through insertion of
The void is investigated through spatial inversion and the plans that become the adaptive narrative of the Majestic
edges of the void are refined using the threshold mapping Cinema. The programme will solely rely on the needs of the
as a guide. Through ambiguity, the essence of the void is Cinema Trusts but will be flexible to accommodate multi-
compelled by the spatial inversion of the program, embracing functionality. Specialized research will seek to understand
the new, the memory and the everyday moments as well as material production locations around the cinema to understand
using temporality to distinguish a chronological rhythm for the available material implementation.
building.



29 31

28 Outside (In) 30 Architecture for the Audience
Bongi Sithole Masego Mogashoa

Baraza = a public meeting space My intent is to create a theatrical experience for the Audience
outside the barriers that we are accustomed to when attending
Stone Town. Notable for its narrow passageways events. The users of the space become the performers
interconnected by courtyards, here, people are encouraged themselves. The Audience is able to view and be viewed
and given space to gather. Complimented by natural light and simultaneously.
cool air, these spaces provide relied and an ideal sense of
community. Qualities such as these, ones that are familiar My design is centred around providing an experiential space
and widely used by the Zanzibar people, can be applied and that has possibilities of occupation before and after events.
adapted to e Majestic Cinema, re-establishing an abandoned, This space is also part of a journey to access other event
once former “cultural hub”, to become a one re-equipped venues scattered throughout the building.
and targeted to not only keep the attendance of the older
generation but to bring in a new gen. 28 There are logistical and servicing spaces (serving) on the
sides surrounding the even spaces and lobby divisions that
An Art Deco Cinema left exposed by a broken roof. My design are spatially eroded. The main event spaces include the
intention would be to take what is broken and to break it (quite Cinema Black Box, the Social Staircase, the Flexible Red
literally), splitting the roof and space underneath whilst carving Box, and the Rooftop.
our a new one. A “Baraza”, where the qualities mentioned 30
above will be informed and applied.

This intervention is one that will not only provide more activity
outside of movie-watching but will hopefully bring familiarity
and comfort to those that would potentially occupy the space.
Implementing local qualities to a historic building for adaptive
reusage.



















29 The Void Through Inversion
Keerathi Patel 31 Memory Through Craftsmanship
Motheo Motlhabi
The purpose of the project is to re-create the sense of
community that the cinema going culture in Zanzibar once This design project aims to understand the cultural and socio-
had. The design values the void of the building to cultivate the economic influences that craftsmanship has in Stone Town,
sense of community. Zanzibar. It investigates narratives that relate the film industry
to the art of making and questions its reinterpretation through
The contextual analysis focuses on the edge conditions that Architecture.
determine the quality of the void and is completed through a
mapping of Zanzibari thresholds. The building tectonic aims to celebrate local craftsmanship
available in Zanzibar and implement it through insertion of
The void is investigated through spatial inversion and the plans that become the adaptive narrative of the Majestic
edges of the void are refined using the threshold mapping Cinema. The programme will solely rely on the needs of the
as a guide. Through ambiguity, the essence of the void is Cinema Trusts but will be flexible to accommodate multi-
compelled by the spatial inversion of the program, embracing functionality. Specialized research will seek to understand
the new, the memory and the everyday moments as well as material production locations around the cinema to understand
using temporality to distinguish a chronological rhythm for the available material implementation.
building.



29 31

32 Majestic Memories 34 The Female Perception of Stone Town
Mpho Sephelane Samke Kunene

A new theatre that values the memory of the past and Deconstructing Normality, Reconstructing Narratives.
celebrates the dynamic social context of the present.
The process of memory mapping is used by the woman of the
Over time, buildings tell us stories that display the memory group called “Reclaim Women’s space”. These women are
of the past, the identity of the present and the potential of the mapping the memories of spaces that they used to occupy,
future. It becomes a material and immaterial link between the before patriarchal decisions were made to turn these spaces
past, the present and future through our day to day perception into tourist attractions or close them down. This process of
of it. This new community event and theatre building aims mapping is done through story telling events, production of
to tell the story of The majestic Cinema’s past and present plays and short films.
through the lens of film and perception, dramatic sequence
and the idea of the changing social context over time as key There are a few spaces available for women in Zanzibar
drivers to the design. to socialize. This project re-imagines a Stone Town where
women are able to feel part of the cultural society and tries
These are translated architecturally by layering and stitching to create a space that is able to adapt to the ever-changing
public and private space through framing degrees of visibility 32 society of Zanzibar.
and privacy, and juxtaposing the old and the new by inserting
a dual canopy as a visual and spatial anchor between public
and private spaces. In addition, with film and event as 35 The Majestic Cinema
inspiration, the proposed adaptation of The Majestic Cinema Treasa McMillan
values memories of the past and celebrates the dynamic
social culture of Stone Town by the agency of a program that The Majestic Cinema is situated in the educational and
satisfies the stakeholders while engaging with the existing institutional area of Stone Town, next to Vuga Campus of the
social context. State University of Zanzibar.

This project is centred around integrating the Zanzibari youth
with the wider community of Stone Town by creating spaces,
not only for the stakeholders invested in Majestic Cinema, but
for young people to engage with the older generations through
political discourse, cultural and civic activities. Through this,
meaningful connections develop and encourages the youth to
stay as involved citizens of and in Zanzibar during and after
their studies. 34

The idea of transparency was integral in transforming the
design of the building into a place devoid of ambiguities by
rather holding a sense of understanding through its honesty.




33 Walking as a Tool for Design
Nicola Hardie

Walking can be used as a tool to experience and engage
with the lived realities of Stone Town. This tool is essential in
understanding and mapping the complexities of Zanzibari life
that exists within its labyrinth of streets and alleyways.

Michel de Certeau, in The Practice of Everyday Life (1984),
urges the urban planner to deviate from solely viewing a
city from its ‘master plan’, a position of power, to imbedding
himself amongst the chaos of the everyday, to experience the
city as it is lived by its walkers.

These concepts have developed a pallet of guidelines, which
have informed my design in restoring the Majestic Cinema,
Tanzania’s art deco gem from the 1920s, which has lost its
lustre.


33 35

32 Majestic Memories 34 The Female Perception of Stone Town
Mpho Sephelane Samke Kunene

A new theatre that values the memory of the past and Deconstructing Normality, Reconstructing Narratives.
celebrates the dynamic social context of the present.
The process of memory mapping is used by the woman of the
Over time, buildings tell us stories that display the memory group called “Reclaim Women’s space”. These women are
of the past, the identity of the present and the potential of the mapping the memories of spaces that they used to occupy,
future. It becomes a material and immaterial link between the before patriarchal decisions were made to turn these spaces
past, the present and future through our day to day perception into tourist attractions or close them down. This process of
of it. This new community event and theatre building aims mapping is done through story telling events, production of
to tell the story of The majestic Cinema’s past and present plays and short films.
through the lens of film and perception, dramatic sequence
and the idea of the changing social context over time as key There are a few spaces available for women in Zanzibar
drivers to the design. to socialize. This project re-imagines a Stone Town where
women are able to feel part of the cultural society and tries
These are translated architecturally by layering and stitching to create a space that is able to adapt to the ever-changing
public and private space through framing degrees of visibility 32 society of Zanzibar.
and privacy, and juxtaposing the old and the new by inserting
a dual canopy as a visual and spatial anchor between public
and private spaces. In addition, with film and event as 35 The Majestic Cinema
inspiration, the proposed adaptation of The Majestic Cinema Treasa McMillan
values memories of the past and celebrates the dynamic
social culture of Stone Town by the agency of a program that The Majestic Cinema is situated in the educational and
satisfies the stakeholders while engaging with the existing institutional area of Stone Town, next to Vuga Campus of the
social context. State University of Zanzibar.

This project is centred around integrating the Zanzibari youth
with the wider community of Stone Town by creating spaces,
not only for the stakeholders invested in Majestic Cinema, but
for young people to engage with the older generations through
political discourse, cultural and civic activities. Through this,
meaningful connections develop and encourages the youth to
stay as involved citizens of and in Zanzibar during and after
their studies. 34

The idea of transparency was integral in transforming the
design of the building into a place devoid of ambiguities by
rather holding a sense of understanding through its honesty.




33 Walking as a Tool for Design
Nicola Hardie

Walking can be used as a tool to experience and engage
with the lived realities of Stone Town. This tool is essential in
understanding and mapping the complexities of Zanzibari life
that exists within its labyrinth of streets and alleyways.

Michel de Certeau, in The Practice of Everyday Life (1984),
urges the urban planner to deviate from solely viewing a
city from its ‘master plan’, a position of power, to imbedding
himself amongst the chaos of the everyday, to experience the
city as it is lived by its walkers.

These concepts have developed a pallet of guidelines, which
have informed my design in restoring the Majestic Cinema,
Tanzania’s art deco gem from the 1920s, which has lost its
lustre.


33 35

36 The Capsule: Memories of Film
Tiego Monareng

My building adapts the found Majestic Cinema into cultural
center, housing a cinema adapted for modern standards and
a gallery which celebrates the institutional changes in film.

Acting as a Dual-Timeline, it is important that the gallery
embraces the past while celebrating the changes in film and
the new opportunities these changes have brought with it.

The facilitation of varying new types of showcase spaces in
the time Capsule, alongside the existing cinema structure,
provide new opportunities for the creative industries of Stone
Town.

























34
36















37 Magnificent Cinema
Omid Pournejati

The existing building of “The Majestic Cinema” despite being
a significant part of the history of Zanzibar, no longer fulfils
its purpose and has become a hidden portion of Stone Town.
The Majestic Cinema is unpublic, does not engage well with
people and does not advocate openness.

Using Shadi Ghadirian’s work (contemporary photographer)
as an inspiration and guide into my design, by rethinking
ground floor and circulation of the existing building and
implementing a new addition, I attempted to set the building
free to make it more visible from the street and precinct level
as a response to the current state of the building in order to
revive its original purpose and create a new landmark around
the neighbourhood.
36 37

36 The Capsule: Memories of Film
Tiego Monareng

My building adapts the found Majestic Cinema into cultural
center, housing a cinema adapted for modern standards and
a gallery which celebrates the institutional changes in film.

Acting as a Dual-Timeline, it is important that the gallery
embraces the past while celebrating the changes in film and
the new opportunities these changes have brought with it.

The facilitation of varying new types of showcase spaces in
the time Capsule, alongside the existing cinema structure,
provide new opportunities for the creative industries of Stone
Town.

























34
36















37 Magnificent Cinema
Omid Pournejati

The existing building of “The Majestic Cinema” despite being
a significant part of the history of Zanzibar, no longer fulfils
its purpose and has become a hidden portion of Stone Town.
The Majestic Cinema is unpublic, does not engage well with
people and does not advocate openness.

Using Shadi Ghadirian’s work (contemporary photographer)
as an inspiration and guide into my design, by rethinking
ground floor and circulation of the existing building and
implementing a new addition, I attempted to set the building
free to make it more visible from the street and precinct level
as a response to the current state of the building in order to
revive its original purpose and create a new landmark around
the neighbourhood.
36 37

Studio Occupy














Elective Lead: Scott Johnston





The elective expands inquiry undertaken in 2017 Vertical
Studio Occupy Cape Town / decolonial struggles [district
6] and 2019 hones_ Occupy Cape Town / a case for re-
contextualisation_[Woodstock interlock].
The inquiry seeks to ‘identify and produce relevant urban
frameworks (special, social, statutory) re-defining existing
land-use and buildings through accountable programming
and considered architectural making of public and private
space.’

The study area focus is the Woodstock/District Six ‘strip’
between Woodstock and Cape Town stations. The studio
examines generative programme, public and private space,
and the fabric of making. Central to the studio is trackable
intent, within legible context, and articulated through making
and deliberate architectural syntax. Iquiry suggests that site
‘fractals’ and complexity of programmatic fine-grain-use
overlays be interjected when transitioning urban design and
architecture. Critically, structure, structural systems, and
assembly expression should emerge as the accountable
working literacy, in process and outcome.

The studio seeks to consciously engage a new sustainable
dispensation of spatial patterns to reflect integration of urban/
social diversities.

It looks to examine frameworks of understanding and
implementation that determine development. Overlays of
statutory frameworks, land-use models, transport systems,
and equitable housing provision are set to accountable
legitimacy measures. Social space is centred to represent
the occupants of the integrated, sustainable, living city.
Adjacencies of housing, workplace, mobility and civil
amenities and services, delineate precinct.

Understanding the making of the precinct and the valences
that enable, permit, reflect and support identity and agency.
Frameworks looks to patterns and truths, remembered,
forgotten, found, hidden, enabling, limiting, dreams and
ideas, rage and delight, music and light, ordinary days,
‘and pray tell us: Who goes Where?’ Nothing will change if
architecture reinforces sameness.

Studio Occupy














Elective Lead: Scott Johnston





The elective expands inquiry undertaken in 2017 Vertical
Studio Occupy Cape Town / decolonial struggles [district
6] and 2019 hones_ Occupy Cape Town / a case for re-
contextualisation_[Woodstock interlock].
The inquiry seeks to ‘identify and produce relevant urban
frameworks (special, social, statutory) re-defining existing
land-use and buildings through accountable programming
and considered architectural making of public and private
space.’

The study area focus is the Woodstock/District Six ‘strip’
between Woodstock and Cape Town stations. The studio
examines generative programme, public and private space,
and the fabric of making. Central to the studio is trackable
intent, within legible context, and articulated through making
and deliberate architectural syntax. Iquiry suggests that site
‘fractals’ and complexity of programmatic fine-grain-use
overlays be interjected when transitioning urban design and
architecture. Critically, structure, structural systems, and
assembly expression should emerge as the accountable
working literacy, in process and outcome.

The studio seeks to consciously engage a new sustainable
dispensation of spatial patterns to reflect integration of urban/
social diversities.

It looks to examine frameworks of understanding and
implementation that determine development. Overlays of
statutory frameworks, land-use models, transport systems,
and equitable housing provision are set to accountable
legitimacy measures. Social space is centred to represent
the occupants of the integrated, sustainable, living city.
Adjacencies of housing, workplace, mobility and civil
amenities and services, delineate precinct.

Understanding the making of the precinct and the valences
that enable, permit, reflect and support identity and agency.
Frameworks looks to patterns and truths, remembered,
forgotten, found, hidden, enabling, limiting, dreams and
ideas, rage and delight, music and light, ordinary days,
‘and pray tell us: Who goes Where?’ Nothing will change if
architecture reinforces sameness.

39 Food in The City
Sisonke Mgwebi

Urban Foodscape Modification, to occupy precinct with
architecture that fosters the growth, trade and consumption
of food.

Food as the focus. Unhealthy decisions are “…the result of
normal people, [in] an abnormal environment.” (Joubert and
Miller, 2012)

My brief includes questions such a what? To create a healthier
food environment. How? By occupying and enriching current
foodways, food destinations and the overall foodscape. Why?
Healthy individuals result in healthy communities and vice
versa.













39








38








40 Urban Marginality
Thando Phenyane

‘Urban Marginality; Problem People’

Addressing the complexities of the livelihood of the urban
poor in the city’s margins. Potential for Quasi-Public spaces
38 The Fish Market in the inner city.
David John van As
This project addresses the ‘Problem-Building By-Law’ and
Occupation of the interstitial as a catalyst for spatial growth in so; the refurbishment of The Woodstock Train Station
and sense of place. into a precinct that accommodates informal retail would not
only present a program that functions very similarly to The
Prior to the foreshore project, Woodstock had at its core a Old Biscuit Mill not only in its typology but even more in its
rooted connection to the sea, as a transitory space between engaging nature.
mountain and land. This connection, and with it a sense of
place, was irreversibly lost. It could potentially begin a spatial dialogue between itself and
the WEX1 building that would bring light the most important
This project aims to occupy the interstitial space between the aspect of Urban Marginality. A engaging urban margin is one
past, present and future connections with the sea as a drive where urban dwellers actively engage in multiform activities
of space that satisfied inclusive needs in the city. that connect and intertwine their marginalised position with
spheres of influence and resources.

38 40

39 Food in The City
Sisonke Mgwebi

Urban Foodscape Modification, to occupy precinct with
architecture that fosters the growth, trade and consumption
of food.

Food as the focus. Unhealthy decisions are “…the result of
normal people, [in] an abnormal environment.” (Joubert and
Miller, 2012)

My brief includes questions such a what? To create a healthier
food environment. How? By occupying and enriching current
foodways, food destinations and the overall foodscape. Why?
Healthy individuals result in healthy communities and vice
versa.













39








38








40 Urban Marginality
Thando Phenyane

‘Urban Marginality; Problem People’

Addressing the complexities of the livelihood of the urban
poor in the city’s margins. Potential for Quasi-Public spaces
38 The Fish Market in the inner city.
David John van As
This project addresses the ‘Problem-Building By-Law’ and
Occupation of the interstitial as a catalyst for spatial growth in so; the refurbishment of The Woodstock Train Station
and sense of place. into a precinct that accommodates informal retail would not
only present a program that functions very similarly to The
Prior to the foreshore project, Woodstock had at its core a Old Biscuit Mill not only in its typology but even more in its
rooted connection to the sea, as a transitory space between engaging nature.
mountain and land. This connection, and with it a sense of
place, was irreversibly lost. It could potentially begin a spatial dialogue between itself and
the WEX1 building that would bring light the most important
This project aims to occupy the interstitial space between the aspect of Urban Marginality. A engaging urban margin is one
past, present and future connections with the sea as a drive where urban dwellers actively engage in multiform activities
of space that satisfied inclusive needs in the city. that connect and intertwine their marginalised position with
spheres of influence and resources.

38 40

The BAS(Honours) staff and students
would like to thank the following people
and acknowledge their efforts in making
this semester a success.




The external examiners:
Lone Poulsen and Evandro Schwalbach

The workshop staff:
John Coetzee and Shafiek Matthews

The printing staff :
Terence Swarts and Clyde Ohision

AV support:
Niven Stanley


IT Support:
Leon Coetzee, Hilton Kannemeyer and Earl Kalakoda


The library staff:
Dianne Stelle, Noziphiwo Sigwela and Sokhaya (Tim)
Dlelepantsi

The administrative staff:
Janine Meyer, Mcebisi Mdluli, Naomi Mdluli, Naomi Gihwala,
Nanette Pickover and Natascha Davids

The cleaning staff:
Thobelo Baba, Reggie Johnson, Linda Chola, Patricia
Dingiswayo, Randall Scouttes, Badroenisa van Rensburg,
Thirlo du Plessis

The BAS(Honours) staff and students
would like to thank the following people
and acknowledge their efforts in making
this semester a success.




The external examiners:
Lone Poulsen and Evandro Schwalbach

The workshop staff:
John Coetzee and Shafiek Matthews

The printing staff :
Terence Swarts and Clyde Ohision

AV support:
Niven Stanley


IT Support:
Leon Coetzee, Hilton Kannemeyer and Earl Kalakoda


The library staff:
Dianne Stelle, Noziphiwo Sigwela and Sokhaya (Tim)
Dlelepantsi

The administrative staff:
Janine Meyer, Mcebisi Mdluli, Naomi Mdluli, Naomi Gihwala,
Nanette Pickover and Natascha Davids

The cleaning staff:
Thobelo Baba, Reggie Johnson, Linda Chola, Patricia
Dingiswayo, Randall Scouttes, Badroenisa van Rensburg,
Thirlo du Plessis