The Revival of Heritage and Culture in the Creation

of New Urban Space:

A Proposed Museum in Port Shepstone

By

Rhett Nathan Roberts

Dissertation submitted in partial fulfilment of the

requirements for the degree of Master of Architecture to the
School of Community Development and the Built Environment
University of Kwazulu-Natal
Durban, South Africa,
June 2012

Supervisor: Mr L Ogunsanya
Final Dissertation Document 18 June 2012

i
DECLARATION

A Dissertation submitted in partial fulfilment of the requirements for the degree of Master of
Architecture.

I hereby declare that this dissertation is my own unaided work. It is being submitted to the
School of Architecture, Planning and Housing, University of KwaZulu-Natal, Durban, for the
degree of Master in Architecture, and has not been submitted before for any degree or
examination at any other University.

Signed by the researcher on this 18th day of June 2012

ii
ACKNOWLEDGEMENTS

To my supervisor, Lawrence Ogunsanya and year coordinator Mthembeni Mkhize, thank you
for your wonderful guidance and effort.

To my family, words fail to convey your love and support for me through this incredible
journey. I am forever grateful.

Thank you to those who gave of their time and expertise: Steve Kinsler (East Coast
Architects), Eugene Marais (CMAI) and Gerome Starkey (Starkey Olivier Architects).

The Barry Biermann librarians have been a tremendous help in sourcing the literature needed
to write this dissertation. Thank you.

iii
DEDICATION

To the courageous Norwegian settlers that began a new life in Africa.

iv
ABSTRACT

Heritage and culture are invaluable assets whereby human beings can define themselves.
Through the careful preservation of past and heritage, people have a reference point in which
to define their belonging; a lineage that traces their being. However, heritage and the
elements that make up a place's identity are often not preserved. The question posed in this
dissertation asks what becomes of a space when it's particular heritage and history falls into a
state of decay? Why is it necessary to try to preserve the elements that define the very
foundations of a place? Furthermore, it is asked what can be done, in terms of an architectural
intervention, to rectify this issue.

Architecture has a role far beyond the necessity of basic shelter. It defines a framework in
which human activity occurs. It encompasses something greater than the functional and its
vast impact on the physical, emotional and psychological aspects of its users should not be
overlooked; especially when the architecture has a way of harking back to a past memory and
time. This dissertation looks into an appropriate response to architectural design that merges
the significance of the past, the inherent culture of a collective society, the defining
characteristics of place, setting and climatic elements and built form that captures the essence
in an architectural celebration.

The research culminates in an analysis of a revival and rejuvenation approach to architecture

in the local context of KwaZulu-Natal. Conclusions are drawn from the research carried out
through conducting interviews, a review of literature and analysis of case studies and
precedent studies. The outcome of this dissertation is a set of recommendations, principles
and an understanding of the criteria necessary to inform the design of A Proposed New
Museum in Port Shepstone.

There is nothing better than that a man should rejoice in

his own works, for that is his heritage - Ecclesiastes 3:22

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 TABLE OF CONTENTS
DECLARATION …………………..…………………………..…………….... ii
ACKNOWLEDGEMENTS …………………………………..………………. iii
DEDICATION …………………..…………………………..……………….... iv
ABSTRACT …………………..…………………………..……………………. v
TABLE OF CONTENTS ……..…………………………..…………………… vi
LIST OF ILLUSTRATIONS …………………..…………………..…………. ix

PART ONE
BACKGROUND RESEARCH ON ISSUES

1.0 CHAPTER ONE: INTRODUCTION…………………..…………….. pg 1

1.1 INTRODUCTION…………………..………………………………….. pg 1
1.1.1 Background ……………………………………………….... pg 1
1.1.2 Justification of the study ……………………………........... pg 3
1.2 DEFINITION OF THE PROBLEM, AIMS AND OBJECTIVES …. pg 3
1.2.1 Definition of the Problem ………………………………….. pg 3
1.2.2 Aims of the Study …………………………………………... pg 4
1.2.3 Objectives of the Study …………………………………….. pg 4
1.3 SETTING OUT THE SCOPE …………………………………...……. pg 4
1.3.1 Issues Inferred by Research …………………....…......…... pg 4
1.3.2 Delimitation of Research Problem …………………........... pg 5
1.3.3 Assumptions …………………………………....................... pg 6
1.3.4 Key Questions …………………………………………...…. pg 6
1.3.5 Hypothesis …………………………………………...…...… pg 6
1.3.6 Definition of Terms ………………………………………... pg 7
1.4 CONCEPTS AND THEORIES …………………………………....… pg 8
1.5 RESEARCH METHODS AND MATERIALS …………………..… pg 9
1.5.1 Primary Research ………………………………………... pg 9
1.5.2 Secondary Research …………………………………….... pg 10
1.6 CONTRIBUTION TO KNOWLEDGE …………………………..… pg 11
1.7 LIMITATIONS OF THE STUDY …………………………..…......... pg 11
1.8 CONCLUSION …………………..……………………..….…………. pg 12

vi
2.0 CHAPTER TWO: LITERATURE REVIEW……………….….…... pg 13
2.1 CULTURE, HERITAGE AND SYMBOLISM ................. pg 13
2.1.1 Introduction ............................................................................ pg 13
2.1.2 The Importance of Culture in Society ................................ pg 13
2.1.3 What Society Learns from its Past ...................................... pg 18
2.1.4 Memory, Experience and Emotions .................................... pg 19
2.1.5 Resultant Regional Identity ................................................. pg 23
2.1.6 Conclusion ............................................................................. pg 27

2.2 ARCHITECTURE OF REVIVAL

AND REJUVENATION..................................................... pg 28
2.2.1 Introduction ......................................................................... pg 28
2.2.2 The Environment and the Importance of Place .............. pg 28
2.3.3 The Essence of Place-making ............................................. pg 33
2.3.4 Architectural Responses to Decay ..................................... pg 42
2.3.5 New Urbanism Principals ................................................... pg 49
2.3.6 Conclusion ............................................................................ pg 54

3.0 CHAPTER THREE: KEY PRECEDENT STUDY

Redevelopment of Genova's Old Harbour ........................................... pg 55
3.1 Introduction .......................................................................... pg 55
3.2 Analysis .................................................................................. pg 55
3.2.1 Background ........................................................................... pg 55
3.2.2 Historic and Cultural Framework ...................................... pg 55
3.2.3 Reasons for its Decay ........................................................... pg 56
3.2.4 Rejuvenation of the Old Harbour ..................................... pg 57
3.3 Maps and pictures ............................................................... pg 58
3.4 Discussion ............................................................................. pg 58
3.5 Conclusion ............................................................................. pg 59

4.0 CHAPTER FOUR: CASE STUDIES ................................................. pg 62

4.1 Case Study: Knysna's Waterfront .................................. pg 62
4.1.1 Justification of Case Study............................................... pg 62
4.1.2 Analysis ............................................................................. pg 63

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 4.1.2.1 Site Location ..................................................................... pg 64
4.1.2.2 Vegetation ......................................................................... pg 64
4.1.2.3 Climate .............................................................................. pg 64
4.1.2.4 Historic and Cultural Setting .......................................... pg 64
4.1.2.5 Knysna's Waterfront ....................................................... pg 65
4.1.3 Maps and pictures ........................................................... pg 65
4.1.4 Discussion .......................................................................... pg 70
4.1.5 Conclusion ......................................................................... pg 71

4.2 Case Study: Msundusi Museum, Pietermaritzburg ....... pg 71

4.2.1 Justification of case study ................................................ pg 71
4.2.2 Analysis ............................................................................. pg 71
4.2.2.1 Site Location ..................................................................... pg 71
4.2.2.2 Historic and Cultural Setting .......................................... pg 72
4.2.2.3 Internal versus External Space........................................ pg 72
4.2.2.4 Historic and Cultural Preservation ................................ pg 73
4.2.3 Maps and pictures ........................................................... pg 73
4.2.4 Discussion .......................................................................... pg 80
4.2.5 Conclusion ......................................................................... pg 82

5.0 DISCUSSION AND ANALYSIS .......................................................... pg 83

5.1 Revival and Rejuvenation ............................................... pg 83
5.2 Heritage and Spirit of Place ............................................. pg 83

6.0 CONCLUSION ....................................................................................... pg 84

6.1 Summary of Findings ....................................................... pg 84
6.2 Conclusion ......................................................................... pg 85
6.3 Avenues for Further Research ........................................ pg 86
6.4 Recommendations ............................................................ pg 87

7.0 APPENDICES (Pre-fieldwork data, fieldwork samples) .................... pg 88

8.0 REFERENCES and BIBLIOGRAPHY ................................................ pg 89

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LIST OF ILLUSTRATIONS

Figure 1 - The Seven Components of Culture ......................................... pg 14

Figure 2 - South African Culture .............................................................. pg 17

Figure 3 - Rebuilding Dresden ................................................................. pg 18

Figure 4 - Dresden Frauenkirche ............................................................. pg 18

Figure 5 - Semiotics Triangle .................................................................. pg 20

Figure 6 - Venice ..................................................................................... pg 30

Figure 7 - New York Skyline .................................................................. pg 35

Figure 8 - Jean-Marie Tjibaou Cultural Centre ....................................... pg 40

Figure 9 - Moderna Museet Malmo Tham Videgard Arkitekter ............. pg 44

Figure 10 - Moderna Museet Malmo Tham Videgard Arkitekter ............ pg 44

Figure 11 - Moderna Museet Malmo Tham Videgard Arkitekter ............ pg 45

Figure 12 - Moderna Museet Malmo Tham Videgard Arkitekter ........... pg 45

Figure 13 - Turbine Boutique Hotel ........................................................ pg 46

Figure 14 - Turbine Boutique Hotel ........................................................ pg 46

Figure 15 - Turbine Boutique Hotel ........................................................ pg 46

Figure 16 - Turbine Boutique Hotel ........................................................ pg 46

Figure 17 - Weylandts Building .............................................................. pg 47

Figure 18 - Weylandts Building .............................................................. pg 47

Figure 19 - Guggenheim Museum in Bilbao .......................................... pg 47

Figure 20 - Guggenheim Museum in Bilbao .......................................... pg 47

Figure 21 - Guggenheim Museum in Bilbao .......................................... pg 48

Figure 22 - Walkability ........................................................................... pg 50

Figure 23 - Connectivity ......................................................................... pg 51

Figure 24 - Mixed Use ............................................................................ pg 51

Figure 25 - Mixed Housing .................................................................... pg 52

Figure 26 - Smart Transportation ........................................................... pg 53

Figure 27 - Sustainability ....................................................................... pg 53

Figure 28 - Genoa Historic Map ............................................................. pg 56

Figure 29 - Genoa Bigo .......................................................................... pg 56

Figure 30 - Genoa Biosphere ................................................................. pg 56

Figure 31 - Genoa Barrier ...................................................................... pg 57

Figure 32 - Genoa Intervention ............................................................. pg 57

ix

Figure 33 - Genoa Bigo ......................................................................... pg 57

Figure 34 - Genoa Aquarium ................................................................ pg 57

Figure 35 - Genoa Aquarium ................................................................ pg 58

Figure 36 - Genoa Bigo ........................................................................ pg 58

Figure 37 - Genoa Aquarium ................................................................ pg 59

Figure 38 - Genoa Map ........................................................................ pg 59

Figure 39 - Genoa Cotton Warehouse Section ...................................... pg 59

Figure 40 - Genoa Cotton Warehouse ................................................... pg 60

Figure 41 - Genoa Cotton Warehouse Section ...................................... pg 60

Figure 42 - Knysna Waterfront .............................................................. pg 63

Figure 43 - Knysna Waterfront .............................................................. pg 63

Figure 44 - Knysna Waterfront Map ...................................................... pg 63

Figure 45 - Old Boat Shed ..................................................................... pg 64

Figure 46 - Knysna Heads ..................................................................... pg 64

Figure 47 - Knysna Waterfront Entrance .............................................. pg 65

Figure 48 - Knysna Waterfront ............................................................. pg 66

Figure 49 - Knysna Waterfront ............................................................. pg 66

Figure 50 - Knysna Waterfront ............................................................. pg 67

Figure 51 - Knysna Waterfront ............................................................. pg 67

Figure 52 - Knysna Waterfront ............................................................. pg 68

Figure 53 - Grey Street, Knysna ........................................................... pg 68

Figure 54 - Knysna ............................................................................... pg 69

Figure 55 - Knysna Map ....................................................................... pg 69

Figure 56 - Aerial view of the Msundusi Museum .............................. pg 72

Figure 57 - Msundusi Museum Pamphlet ............................................ pg 72

Figure 58 - Msundusi Museum ............................................................ pg 73

Figure 59 - Msundusi Museum ............................................................ pg 73

Figure 60 - Msundusi Museum ............................................................ pg 74

Figure 61 - Msundusi Museum ............................................................ pg 75

Figure 62 - Msundusi Museum ............................................................ pg 75

Figure 63 - Msundusi Museum ............................................................ pg 76

Figure 64 - Msundusi Museum ............................................................ pg 76

Figure 65 - Msundusi Museum ............................................................ pg 77

x

Figure 66 - Msundusi Museum ............................................................ pg 77

Figure 67 - Msundusi Museum ............................................................ pg 78

Figure 68 - Msundusi Museum ............................................................ pg 78

Figure 69 - Msundusi Museum ............................................................ pg 79

Figure 70 - Msundusi Museum ............................................................ pg 79

Figure 71 - Msundusi Museum ............................................................ pg 80

Figure 72 - Msundusi Museum ............................................................ pg 80

Figure 73 - Msundusi Museum ............................................................ pg 81

Figure 74 - Msundusi Museum ............................................................ pg 81

Figure 75 - Msundusi Museum ............................................................ pg 82

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1.0 CHAPTER ONE: INTRODUCTION
1.1 INTRODUCTION
1.1.1 BACKGROUND:

Architecture has a role far beyond the necessity of basic shelter. Worldwide, it defines a
framework in which human activity occurs. It encompasses something greater than purely the
functional: its vast impact on the physical, emotional and psychological aspects of its users
result in an architectural vernacular that responds differently from region to region.
Throughout the history of architecture, buildings have inspired people - be it from small
residences to larger public structures, all have some kind of meaning beside their function.

In South Africa, the incredibly diverse cultures and wide-ranging ethnicities have resulted in
architecture that encompasses a wide range of style and meaning. In addition, influences from
other foreign countries have contributed to the variety of its architectural landscape.

Considering that, in a society where living conditions are changing at

an accelerated pace, it is essential for man's equilibrium and
development to preserve for him a fitting setting in which to live, where
he will remain in contact with nature and the evidences of civilization
bequeathed by past generations, and that, to this end, it is appropriate
to give the cultural and biophysical heritage an active function in
community life and to integrate into an overall policy the achievements
of our time, the values of the past and the beauty of nature.

The above extract is taken from the UNESCO Recommendation Concerning the Protection,
at National Level, of the Cultural and Biophysical Heritage at the UNESCO General
Conference in 1972. Nations across the globe have been active in implementing conservation
strategies to protect their heritage and national interests. South Africa introduced the National
Monuments Act in 1969, showing that as a nation, steps to protecting our past were already in
motion. The National Heritage Resources Act 25 of 1999 added to the previous act, with this
extract:

This legislation aims to promote good management of the national

estate, and to enable and encourage communities to nurture and
conserve their legacy so that it may be bequeathed to future
generations. Our heritage is unique and precious and it cannot be

1
 renewed. It helps us to define our cultural identity and therefore lies at
the heart of our spiritual well being and has the power to build our
nation. It has the potential to affirm our diverse cultures, and in so
doing shape our national character.

Our heritage celebrates our achievements and contributes to redressing

past inequalities. It educates, it deepens our understanding of society
and encourages us to empathise with the experience of others. It
facilitates healing and material and symbolic restitution and it
promotes new and previously neglected research into our rich
traditions and customs. (http://www.dac.gov.za/acts/a25-99.pdf)

These passages and in particular, the last sentence of the passage above sums up the
importance of the preservation of one's history and culture: future generations will one day
become the guardians of this knowledge, and without a plan to showcase and celebrate it
now, it faces the very real possibility of being lost forever.

"As no man is an island, neither is any structure an isolated example

that exists apart from its society or the culture that produced it."
(unknown; Borden 2000)

The issue of connection and belonging to place and inclusion amongst fellow inhabitants is
something that is core to every single person. Without a base for belonging and public
integration, man is stumped and progress ceases. Various types of historic renewal and
adaptive re-use upliftment schemes are present today, but each one is unique and has its own
set of rules to abide by; the question arises as to what culture existed in years gone by, and
how it can be restored through the rejuvenation of the built environment.

The lower south coast of KwaZulu-Natal has a rich history that centers around Port
Shepstone and its harbour. It was one of the entry points for parties of European settlers
immigrating to South Africa, as well as being the hub of the local industrial and agricultural
trade, including marble and lime stone quarrying, tea and sugar farming and trawling and
fishing enterprises all having a strong connection to the port. It has untapped potential to
recapture the history of the area and celebrate it with a structure that is inclusive of all the
various cultures, races and people dwelling on the South Coast.

2
The research will aim to understand the effects which restoration and renewal will have on
people that have lived in and around the coastal town of Port Shepstone and how it changes
their view and connection to it. Also key to the research are the questions of how architecture
can be created to foster feelings of cultural and social identity as well as the incorporation of
gathering and interactive spaces.

1.1.2 JUSTIFICATION OF THE STUDY:

Until recently, national preservation schemes have been mostly upper-class and urban in their
emphasis. Because of this bias, most of the artifacts studied and conserved have been
obviously significant and monumental structures, such as forts, palaces, cathedrals and
parliaments - iconic structures for the rich, powerful and famous. As a result of this, entire
categories of humble, yet no less important history and artifacts have been excluded from
national databases, and hence, forgotten and left to decay (Fitch, 24). Thankfully there are
now organisations present today at international, national and provincial levels that
implement measures to preserve and protect heritage and culture, but examples of these are
more often than not reserved for the most prestigious examples and ones that usually stand
alone in their splendor; not much has been explored in terms of using history and culture for
the basis of a larger scale renewal of an urban space. There is now a consciousness and
public attitude that recognises the importance of heritage and cultural preservation, and it is
the aim of this study to apply it to a setting that will impact and benefit the local residents in a
positive manner; to ultimately improve their quality of life and allow for a continuation of
traditions, memories and respect.

Identity and revival are the two major themes that form the basis of this dissertation. Without
a connection to "place", people feel a distinct lack of belonging to the land. Architecture is an
incredibly powerful means whereby people can root themselves in a settlement - using it as a
tool of self and cultural expression. It is crucial that architecture respond to a particular
identity of the place so that people may feel a connection and belonging to their surroundings.

The particular setting and topic holds a personal meaning for the researcher, who, having
lived in the area for a number of years, has an in-depth understanding of the workings (both
current and past) of the area the history and culture that belongs to it.

3
1.2 DEFINITION OF THE PROBLEM, AIMS AND OBJECTIVES
1.2.1 DEFINITION OF THE PROBLEM:
Generally, there seems to be a lack of understanding when confronted with a possibility of
reviving and renewing an area. Meaning, place and memory are usually forgotten and
replaced with quick profits and faceless architecture. Decay, and specifically urban decay, is
a challenge many built up areas are facing. Revival and rejuvenation is a timely yet
immensely satisfying route to restoring something that creates unquantifiable character and
meaning to a specific place steeped in history. The research therefore aims to insert a
comprehensive collection of data detailing an understanding of how environments should be
designed to take cognisance of the past, the present and the future.

A larger connected issue is that of environmental and economic stability and the role an
upliftment scheme will have on the people that use the area. It has to be able to benefit and
prosper the inhabitants; not subtract from them. At the same time, it has to be sensitive to the
fragile environment - taking precautions so as not to alter the landscape or affect any of the
existing natural characteristics of the area.

Port Shepstone faced two issues that were the main contributors of its harbour falling into
disuse. The primary reason was the extension of the rail network to the lower South Coast,
which negated the need to transport goods to Durban via ships. It also faced the issue of
urban sprawl and the business surrounding it moved outwards - leaving the area under-used
and becoming run-down. The old framework from the mid-late 1800's still exists to this day,
although it isn't at all obvious that Port Shepstone once boasted a harbour. This is to the
detriment of the town, as utilising it and reviving it would add to its heritage, culture and
identity.

1.2.2 AIMS:
The aim of the research is to understand the issues forming the backbone of this project, such
as memory, identity, revival and decay, and ultimately, understanding how they can enhance
a place and people's lives. Furthermore, the aim is to restore and bolster a cultural identity
and revive lost heritage for the community of the South Coast; creating a completely
democratic and inclusive space that people can feel equal and have a genuine sense of
belonging; a connection to the spirit of the place.

4
1.2.3 OBJECTIVES:
There is great potential to revive the area. There is a rich framework to work with, and
various options in terms of what built form will eventually be constructed that can add to the
culture and identity of the town. It will not only benefits the users today, but provides a
framework whereby future generations can be aware of what came before, so that a strong
sense of heritage develops. Furthermore, a sensitive approach to the natural and contextual
elements will ensure the prolonged and sustained continuation of this effort.

1.3 SETTING OUT THE SCOPE

1.3.1 ISSUES INFERRED BY THE RESEARCH

Memory and identity are important elements in architecture, and a sensitive and thoughtful
approach to the history of the region has to be undertaken before reviving or highlighting it.
The best theory that supports this notion is Critical Regionalism. Globalisation has made
everything so accessible and it is increasingly entering every part of our lives. It has resulted
in many things, including architecture, becoming homogenised. Critical Regionalism strives
to counter the 'placelessness' and lack of meaning in Modern Architecture by connecting and
drawing on the surrounding and contextual forces to impart a sense of place and meaning.
(Lefaivre, Tzonis: 9)

Towns are largely dependent on their geographical position which strongly affects their
relationship with the outside world. It can be argued that the strongest factor affecting urban
location and growth is transport and transport nodes. (Hoyle: 137) Ports, as places where
trade between sea and land happen, is the earliest type of transport node known to man. This
has led them to become financial and industrial hubs, which go on to spur social, cultural and
economic development. (Hoyle: 138)

Public space within a revival development needs to be considered in terms of the various
happenings and functions the nature of the project brings. How it responds to a multitude of
various cultures and people will be the success or failure of the revival scheme.

Climate change is a major factor in any new seaside development. The unpredictability in the
weather systems have resulted in buildings needing to be far more structurally resistant. They
have to be positioned carefully to best cope with unusual high tides, storm waves and even
tsunamis. Studies in rising sea levels and floodplains must also be carried out to determine if
it is a safe development or not.

5
Proximity to the body of water will result in calculated structural design and material use
considerations to be hardy and resist the harsh off-shore conditions.

1.3.2 DELINEATING THE RESEARCH PROBLEM

Small coastal towns will be analysed to see how they have responded to a combination of
sea-side attractions the ocean provides, as well as how they respond to the heritage of the
town itself. Old historic towns like Knysna and Plettenberg Bay could be possible places to
explore. A key aspect to look at will be how land-based transport (road and rail) has affected
its development (possibly looking at towns that have 'died' as a result from being cut off from
a water artery) in regard to the port as an economic generator.

The area that will be analysed will be confined strictly from the river mouth of the
Umzimkhulu River up to Spiller's Wharf - a kilometre upstream. Photographs and sketches of
the site will be done to graphically illustrate the necessary information that is required in the
assignment. Comprehensive research will be undertaken on many different fronts; from
internet research, library research, interviewing locals and built environment professionals to
get a good, solid background to work from. Assessment will be carried out at various times
during the day and night to gain a comprehensive knowledge of the area and its possible
varying character.

1.3.3 ASSUMPTIONS

For this research to take place, it is assumed that the residents of Port Shepstone will not only
appreciate the revival of a part of their history, but also embrace an economic opportunity a
harbour-front redevelopment will provide to the area. It is also assumed that there will be a
distinct feel and vernacular to draw from to tie the new structure in with the existing urban
fabric.

1.3.4 KEY QUESTIONS

PRIMARY QUESTION: How can architecture renew the cultural and historical heritage
of a place?

SUB QUESTIONS:

What is the definition of culture and heritage?

How can an iconic structure uplift and create excitement throughout a larger/urban
scheme?

6

What impact does the built environment have on its users and their perception and
memory?

How can the focus not only be on revival and rejuvenation of the existing but prepare
and cater for the prolonged use of the development; that a new history can unfold?

What cultural or heritage laws exist, and how might they shape the development?

What type of building/development will showcase the area's culture and heritage?

1.3.5 HYPOTHESIS

It is hypothesized that architectural revival can be a key element in aiding the historic and
cultural significance and would bring renewed interest to the residents and visitors of the
area. Simultaneously, such architecture uplifts the community through the provision of a
reference point from which their progression can be traced, as well as promoting future
growth with an understanding of the past and their connection to it.

1.3.6 DEFINING THE TERMS

Adaptive Re-use - the process of turning an old and disused structure into something new
that doesn't adhere to its original intended purpose.

Catalyst Development - an inception in a strategic location that will encourage growth and
development of the surrounding areas.

Cultural Identity - the identity of a group or culture, or of an individual as far as one is

influenced by one's belonging to a group or culture.

Cultural Integration - Culture is not a random assemblage of skills, customs, values, and
beliefs. These elements are woven into a definite pattern and are somehow related to one
another.

Environment - circumstances or conditions that surround one; their surroundings.

Heritage - Something that is passed down from preceding generations; a tradition.

History - the discovery, collection, organisation and presentation of information about past
events.

Placelessness - an environment that does not have any distinctive personality or sense of
place that marks it unique.

7
Revival - restoring something to make it new again; to bring new life.

Social Identity - a person’s sense of who they are based on their group membership(s).

Spirit of Place - Spirit of place refers to the unique, distinctive and cherished aspects of a
place; from intangible cultural aspects to physical and tangible man-made or natural features.

1.4 CONCEPTS AND THEORIES

Culture and Heritage
Culture and heritage is something integral to mankind's existence. It defines people and their
societies and is often something expressive and linked to a platform in which to express it.
These platforms can be tangible or intangible, and the unique formulas that constitute one's
culture and heritage becomes one's identity. This theory explores the importance of protecting
and keeping culture alive-and-well in a modern age and how it can benefit society.

The concepts of culture and society are closely related. Culture is defined as all the products
of society - material and nonmaterial. Society consists of interacting people living in the same
territory who share a common culture. One without the other is not possible. People in
society create culture; culture shapes the way people interact and understand the world
around them. (Ockman; 1968)

Revival and Rejuvenation

There are many renewal and upliftment schemes occurring today. These schemes root
themselves in a theory of Revival and Rejuvenation and can be seen in the opposite light of
Ageing. It has the benefit of using an existing framework to build from, and thus provides
many links and threads to tap into to provide greater meaning and connection to place rather
than building a new development. By the nature of what has gone before, it possesses a
character that cannot be replicated with a brand new development. It thus imbues the
rejuvenated space with restored meaning and identity. (Taylor, M and Levine, M; 2011)

Identity
The aim is to restore and bolster a cultural identity for the community of the South Coast;
creating a completely democratic and inclusive space that people can feel equal and have a
genuine sense of belonging to the spirit of the place. There is great potential to revive the
area. There is a rich framework to work with, and various options in terms of what built form

8
will eventually be constructed that can add to the culture and identity of the town. Identity
refers to the ways in which individuals and collectives are distinguished in their social
relations with other individuals and collectives. Architecture plays a significant role in a
person's or community's identity, and through an upliftment, scheme can bolster their
individual or collective identity. (Norberg-Schulz, C; 1971)

Semiology
Semiology can be defined as the study of signs: how they work and how people use them.
Almost anything can signify something for someone or a group of people - that it is common
to all members of the same culture who share the same language. Barthes extended this idea
to all kinds of world and image related spheres, and the built form is a prime feature in
everyone's daily life where people attach meaning, and more importantly, memory, to it.
(Munro, C; 1987)

Critical Regionalism
The exploration of Genius Loci and Phenomenology of Place have lead to the architectural
theory of Critical Regionalism. Critical Regionalism gives priority to the value of a physical,
social and cultural setting. Comprising of the theory are the engagement and accentuation of
the site, the use of local materials and response to factors such as light and climate. The
combined result of these elements can be used to improve and enhance people's experience
with buildings and the space they create; thus creating a sense of place, identity and meaning.
(Lefaivre, L and Tzonis, A; 2003)

New Urbanism
New Urbanism is a modern and important planning movement, which focuses on improving
the way people go about their lives. It is an international movement to reform the design of
the built environment, and is about raising our quality of life and standard of living by
creating better places to live. New Urbanism is the revival of the lost art of place-making and
is essentially a re-ordering of the built environment to form wholes - complete environments.
New Urbanism involves improving and infilling cities, as well as the creation of compact
new towns and villages. This is a very relevant theory to employ as it is sensitive yet active in
making changes to areas of need. By placing emphasis on walkability, connectivity, mixed use
developments, increased density, efficient transportation and sustainability, the quality of life
experience by the users are greatly increased. (Taylor, M and Levine, M; 2011)

9
1.5 RESEARCH METHODS AND MATERIALS
1.5.1 Primary Research
A primary (qualitative) research methodology will be used to analyse appropriate case studies
which will be chosen in terms of their relevance to the topic and their potential outcomes.
The case studies will include museums, galleries, tourist centres or information centres. The
various people running these places will be interviewed for in-depth information: Mrs Riana
Mulder, a museum curator to gain an understanding of the nature of displaying artefacts and
information to the public; Mr Naidoo, a floor manager to understand positioning of displays
and public space; and managers at tourist and information centres to understand how one
caters for visitors. However, first-hand observation by the researcher will occur in order to
gain a more accurate and descriptive account of the case study and eventual outcomes.
Observations will be detailed in the form of recording devices.

RECORDING DEVICES:

Note-taking and box-ticking for interviews and questionnaires

Sketching of floor plans, diagrams or maps for the observation of people in a general
area

The use of photographs

Observing physical traces by using recording devices

In terms of the historic research of the area, the researcher will focus on events beginning
from the creation of the port in Port Shepstone by Europeans up to present day. Nothing
before that time, as the area was undeveloped. Small coastal towns will be analysed to see
how they have responded to a combination of sea-side attractions the ocean provides, as well
as how they respond to the heritage of the town itself. Old historic towns like Knysna and
Plettenberg Bay could be possible places to explore.

The area that will be analysed will be confined strictly from the river mouth of the
Umzimkhulu River up to Spiller's Wharf - a kilometre upstream. Photographs and sketches of
the site will be done to graphically illustrate the necessary information that is required in the
assignment.

10
1.5.2 Secondary Research

The background research to the project will use a secondary research approach, which
involves the collection of information from studies which have been done by other
researchers. This will be outlined in the literature review and the methods or sources that
have or will be employed to obtain the information are:

The libraries and its various resources

The computer and internet

Various books and journal articles

Unpublished theses

Articles reproduced online

Precedent studies will also be provided to further explain the concepts and theories set out in
the literature review and these will be critically analysed to ascertain elements of design
which are relevant to the research topic, thus gaining an understanding of the practical use of
these theories in everyday life and whether or not they work. The literature review will
provide the backbone to the research, providing a foundation with which to proceed with the
design of a building which captures the essence of the research.

1.6 CONTRIBUTION TO KNOWLEDGE

The purpose of this dissertation is to contribute to the body of literature regarding historic and
cultural revival as an architectural design tool. Architecture is to be explored as an all-
encompassing experience where memories of history, culture, place and time can be set in. A
contribution is to be made regarding the benefits of historic, cultural and urban revival and
how designers can utilise an existing framework and reinterpret it in a modern day and age.

1.7 LIMITATIONS OF THE STUDY

Due to the nature and the process of a dissertation, factors such as time constraints and distant
locations of examples for case studies will unfortunately limit the study.

1.8 CONCLUSION
An architecture of revival is so much more than merely recreating a piece of lost built
environment. It harks back to a time where memories are embedded and communities once
thrived, yet interpreted in a way where it caters for a new time: a new beginning.

11
The following chapters provide a review of existing literature pertinent to the topic of
architecture as a tool for historic and cultural revival. The research presented here is
grounded on the fundamental concepts and theories discussed, and strives to draw closer to
answering the key questions stated. In doing so, it is anticipated that one will gain insight into
an approach to the built environment that views architecture as part of the conserver of
regional identity, and its culture and history. Furthermore, it is expected that the following
literature review will reveal how this approach can benefit people's connection to their past
and facilitate a greater level of interaction as a community.

The literature reviews begins with outlining the broader aspect of what 'culture' is, how South
Africa is defined by its 'multi culturalism' and what impact it has on society. It then moves
onto history of regions and the remnants that remain and remind one of what has gone before.
This combination of culture and the past is woven together to form a particular regional
identity that is intrinsically linked to people's memory and perception of place.

The second part of the literature review focuses on how architecture can be a catalyst for
revival. It draws on more site specific theories such as Critical Regionalism and New
Urbanism to root the built form in its context, drawing on heritage and culture while utilising
local resources and environmental considerations to boost the sense of honesty and integrity
one experiences.

The key precedent study and case studies follow in chapters three and four, with the
discussion and analysis following in chapter five. The research is concluded in chapter six,
with a set of recommendations listed.

Chapter seven and eight provide any relevant pre-fieldwork data and a set of answered
questionnaires that links in with the research complied in chapter four. A comprehensive list
of references and sources end the written document.

12
2.0 LITERATURE REVIEW: CONCEPTS AND THEORIES

2.1 CULTURE, HERITAGE AND SYMBOLISM

2.1.1 Introduction
This literature review will comprise of concepts and theories that substantiate the need for a
revival development to take place and why it is important. It will form the groundwork of the
researcher's approach and delve into ideas that ultimately make for better spaces for humans
to live and enjoy their lives. The literature review can be seen in two parts: the first dealing
with and understanding culture, heritage and symbolism and then moving into how that can
inform an architecture that aids in the revival of said culture and heritage.

Culture is something integral to mankind's existence. It defines people and their societies and
is often something expressive and linked to a platform in which to express it. These platforms
can be tangible or intangible, and the unique formulas that constitute one's culture and
heritage becomes one's identity. This chapter explores the importance of protecting and
keeping culture alive-and-well in a modern age and how it can benefit society.

2.1.2 The Importance of Culture in Society

The word "culture" has many different meanings, but for the intended purpose of this study, it
has to do with the field of anthropology and other behavioural science: culture is the full
range of learned human behaviour patterns. The term was first used in this way by the
pioneering English anthropologist Edward B. Tylor in his book, Primitive Culture, first
published in 1871. Tylor says that culture is "that complex whole which includes knowledge,
belief, art, law, morals, custom, and any other capabilities and habits acquired by man as a
member of society." Since Tylor's time, the concept of culture has become the central focus
of anthropology. (Kroeber; 1978)

Unity amongst people: The concepts of culture and society are closely related. Culture is
defined as all the products of society - material and nonmaterial. Society consists of
interacting people living in the same territory who share a common culture. One without the
other is not possible. People in society create culture; culture shapes the way people interact
and understand the world around them. (Ockman; 1968)

Culture is critical to the survival of the human race, but it is a fragile phenomenon. It is
constantly changing and easily lost because it exists predominantly in our minds. Our written

13
languages, governments, buildings, and other man-made things are merely the by-products of
culture of a particular time and place - they are not culture in themselves.

Figure 1 - The seven components of Culture. When one or more of the pieces are missing, the resultant
Culture of the area is jeopardised. SOURCE: www.docstoc.com

There are three layers or levels of culture that are part of man's learned behaviour patterns
and perceptions. First would be a dominant layer of culture, i.e. European. It is the body of
cultural traditions that distinguish ones specific society. When people speak of their various
cultures, they are referring to the particular shared language, traditions, and beliefs that set
people apart from one another and become their defining character. In most cases, those who
share that culture do so because they acquired it from their upbringing (Holmes; 8).

The second layer of culture that exists and adds to one’s identity is a subculture. In complex,
diverse societies in which people have come from many different parts of the world, they
often retain much of their original cultural traditions. As a result, they are likely to be part of
an identifiable subculture in their new society. The shared cultural traits of subcultures set
them apart from the rest of their society. Examples of easily identifiable subcultures in South
Africa include Indians, Malaysians and a wide range of Europeans. Members of each of
these subcultures share a common identity, diet, dialect or language, and other cultural traits
that come from their common ancestral background and experience. As the cultural
differences between members of a subculture and the dominant national culture blur and
eventually disappear, the subculture ceases to exist except as a group of people who claim a

14
common ancestry. That is generally the case with European and Indian settlers in South
Africa today. Most of them identify themselves as South African first (Holmes; 15).

The third layer of culture consists of cultural universals. These are learned behaviour
patterns that are shared by all of humanity collectively. No matter where people live in the
world, they share these universal traits. Examples of such "human cultural" traits include:

communicating with a verbal language consisting of a limited set of sounds and

grammatical rules for constructing sentences

using age and gender to classify people (e.g., teenager, senior citizen, woman, man)

classifying people based on marriage and descent relationships and having kinship
terms to refer to them (e.g., wife, mother, uncle, cousin)

raising children in some sort of family setting

having a sexual division of labour (e.g., men's work versus women's work)

having a concept of privacy

having rules to regulate sexual behaviour

distinguishing between good and bad behaviour

having some sort of body ornamentation

making jokes and playing games

creating art

having some sort of leadership roles for the implementation of community decisions

Culture and society is not the same thing. While cultures are complexes of learned behaviour
patterns and perceptions, societies are groups of interacting organisms. Societies are groups
of people who directly or indirectly interact with each other. People in human societies also
generally perceive that their society is distinct from other societies in terms of shared
traditions and expectations (Stephens; 57).

While human societies and cultures are not the same thing, they are inextricably connected
because culture is created and transmitted to others in a society. Cultures are not the product
of lone individuals, but are continuously evolving products of people interacting with each
other. Cultural patterns, such as language and traditions make no sense except in terms of the
interaction of those people, and how people adapt and grow in a community.

15
Culture in South Africa:

The essence of the nation's new understanding of its cultural heritage is captured not only in
the title of the statement, "I am an African", made by former President Thabo Mbeki to the
Constitutional Assembly of South Africa on 8 May 1996. It also appears in the new coat of
arms of democratic South Africa, launched on Freedom Day in 2000, as well as in the White
Paper on Arts, Culture and Heritage of the same year.

Mbeki’s statement, made particularly to white South African's on the occasion of the
adoption of the South African Constitution Bill in Cape Town, set the tone and laid the basis
for a non-racial understanding and appreciation of the new nation’s diverse heritage. The
statement had a tone which South Africans of different backgrounds and cultures could
identify. It was a political statement in conciliatory terms, embracing the being and 'African-
ness' of all South Africans irrespective of their background. (Bredekamp; 2)

In the early part of his statement and referring to the first indigenous people of the land,
Mbeki acknowledged:

I owe my being to the Khoi and the San whose desolate souls
haunt the great expanses of the beautiful Cape – they who fell
victim to the most merciless genocide our native land has ever
seen, they who were the first to lose their lives in the struggle
to defend our freedom and dependence … (Mbeki, 1996)

The statement also recognises the historical contribution of other South Africans that made
Mbeki and his broad constituency African. Thus, “I am formed by the migrants who left
Europe to find a new home on our native land. Whatever their own actions, they remain still,
part of me”, and “In my veins courses the blood of the Malay slaves who came from the
East”. Mbeki saw himself as part of a lineage of Bantu-speaking and Afrikaner (white)
heroes who fought and died in the South African wars of resistance for their respective
freedoms. F.W. de Klerk, the leader of the New National Party which ruled South Africa for
over 40 years, was inspired by these words of wisdom and responded in a similar voice to the
challenge of redefining his identity and heritage:

Although my people came from Europe more than 300 years ago, I
became an African through the blood of my forebears (sic) which

16
 drenched our soil in fighting for freedom. I became an African
through the dedication and hard work of my forebears … (De Klerk,
1996)

Figure 2 - The Linton Panel, a slab of rock art dating back to the 18th or 19th century, was removed from the
farm of Linton in the Eastern Cape in 1917. The complex paintings reflect the intangible beliefs and cosmology
of the San people, the earliest inhabitant. SOURCE: www.dissanet.com

These statements, and the subsequent adoption of the Bill and realisation of the Constitution
of the Republic of South Africa later the same year, paved the way for debates at national,
provincial and local levels of government and in civil society about the meaning of "I am an
African" in different spheres of society, including the heritage sector. (Bredekamp; 5)

The launch in 2000 of the new Coat of Arms was a further step initiated by national
government to give further backing and direction to the national debate about culture, nation-
building and social cohesion. The Coat of Arms represents a South African dialogue of
heritage symbols of Africa, the West and humanity. The nation’s heritage, rooted in the
creativity of the first indigenous people, is depicted in the centre of the national symbol.

The only human figures depicted are two images derived from the Linton Stone, a world-
famous example of South African rock art on display at one of the Iziko Museums in Cape
Town. The motto, !ke e: /xarra //ke, is derived from a saying in the almost extinct language of
the /Xam Khoisan people, meaning; "people who are different joining together", i.e. unity in
diversity. It is a call from our earliest African ancestors to strive towards building a uniquely
prosperous nation conscious of its diverse heritage. (Bredekamp; 5)

17
2.1.3 What Society Learns from its Past

What is it that makes history so important to man?

It is the only link to our beginning - our origins.

We can understand who we are and how we got to be that way is by studying the past.
On the same token, the only way we can understand others is by studying their past.

It has been said that he who controls the past controls the future. Our view of history
shapes the way we view the present, and therefore it dictates what answers we offer
for existing problems.

The city of Dresden in Eastern Germany was completely destroyed in WW2. Despite not
being a threat to the Allied Forces as it didn't have a military or industrial component at the
time, massive bomb raids obliterated the heart of the city, including the Frauenkirche -
arguably the most beautiful building in the Baroque city. The ruin remained visable in the
centre of the city until 1990 when funding had been secured and work on its restoration
commenced. After 15 years of work, the church was once again complete. This restoration
wasn't for purely nostalgic reasons. The significance and meaning runs far deeper than just
the architecture. The Dresden Bishop, Jochen Bohl, said in a sermon during the consecration
service: "A deep wound that has bled for so long can be healed. From hate and evil a
community of reconciliation can grow, which makes peace possible."
Even though memories of devastation resulting from WW2 still exist, the process of
rebuilding something lost to us has untold restorative powers for man. Dresden is colloquially
referred to now as the "Phoenix City" as it has, quite literally, risen from its ashes.

Figure 3 - The ruins of the Frauenkirche Figure 4 - The rebuilt Frauenkirche standing today
SOURCE: www.wordpress.com SOURCE: www.cleanme.us

18
2.1.4 Memory, Experience and Emotions

With regard to areas of historic and cultural importance, the link to people's memory,
experience and emotions cannot be overlooked. Essentially, it forms the background structure
or a stage where experiences play out and it bases the memory in reality.

Semiology is the broad study or science of sign making. Semiology in architecture offers a
mechanism by which the built environment can be 'read' and 'decoded'. Much has been
written about the legibility of the environments man lives in today, where Barthes (1915) and
Greimas (1917) studied the effect and impression left on users by built environments they
lived in. In the context of this study, the aim is to focus on the elements of memory signs that
affect people in a way that conjures up the past and their connection to it.

According to Charles Jencks, there are three classifications of the processes whereby humans
interpret signs:

Signifier/Signified

Context/Metaphor

Langue/Parole

Signifier versus Signified:

The signifier is a representation for an idea or thought which is signified. In language, the
sound would be the signifier and the idea the signified; whereas in architecture, the form
would be the signifier and the content the signified.

Context and Metaphor:

There are two basic ways a sign achieves meaning - both through its relation to all other signs
in a context or chain, and through the other signs for which it has become a metaphor by
association, or similarity. The synonyms for context are chain, opposition, syntagm,
metonymy, contiguity relations, contrast: for metaphor they are association, connotation,
similarity, correlation, paradigmatic or systemic plane.

Langue/Parole:
All the signs in a society taken together constitute the langue or total resource. Each selection

19
from this totality, each individual act, is the parole. Thus the langue is collective and not
easily modifiable, whereas the parole is individual and malleable.

Figure 5 - Diagram showing how thought, symbol and referent are

all inter-related. SOURCE: www.members.westnet.com

Jencks goes on further to state that memory has three strong defining components:

A memory represents a specific event at a particular time and space/place.

A memory contains a detailed account of the rememberer’s own personal
circumstances.

Memory details and sensory images link with a particular moment or moments of
phenomenal experience

Broadbent (1980) states that all architecture has meaning. Although, in the principles of
semiotics this is true, it has not always been the preferred outlook. Meaning in architecture
only really came to light as a result of Modernism. A move away from functionalism, which
was key to the workings of Modernism, brought about a new, more humane, way of viewing
and understanding buildings that had been lacking in the past. "The functionalist ethic has
been with us for so long that most people still have a sneaking feeling that it was morally
right" (Broadbent, 1980: 125). If not obvious in the architecture of day-to-day, then it is
certainly prominent that architecture steeped in history and culture has meaning.

20
Semiotics deals with a system including the pragmatic and the semantic side of meaning in
architecture. The pragmatic takes the view of "looking at all the ways in which architecture,
as a sign system, actually affects those who use the buildings" (Broadbent, 1980: 127). This
is of importance as it shows that buildings are created to have a specific - but sometimes
unintentional - effect on the users of that building. The psychological impact can be on those
users working or living in a building, or even the people coming into contact with it.
Architecture does this in certain ways: in the use of association, of form, location or space, or
in the creation of the design to stimulate the senses - buildings carry messages that are
perceived by the users. This is revealed in the 'semantics' of semiotics. Semantics determines
a signifier and the signified. This looks at how buildings carry meaning, between the stimulus
or object and the meaning attached to it.

“The minute a new form is invented it will acquire, inevitably, a meaning.”

(Jencks, 1969: 43)

Everything becomes a symbol that represents a greater meaning. It is by attaching meaning to

things, objects, food, music, words and architecture, that they define their value. The theory
of semiotics explains this by the use of linguistics. Each language has a series of letters that
makes a word that is attached to a specific object. The word is often different for each
language although describing the same thing. Therefore, the word becomes a symbol of the
object and provides a meaning for that object. This idea of a symbol is reiterated within
architecture. Areas of historic and cultural significance often have many facets that become
symbols, or something like a building in its entirety becomes a symbol, so as to send out a
message. When people perceive buildings they are essentially using their senses to interpret
what the message may be and then form some type of meaning with which they will relate to
the building.

“Any building is constantly sending out messages, visual, acoustic,

thermal and so on, which can be received by one of the senses and
decoded according to the observers personal experience”
(Broadbent, 1980: 127)

21
From this theoretical background, it becomes clear why historic buildings and zones of rich
cultural heritage hold such power. Jencks (1969) states that architecture holds a much greater
meaning as it becomes a metaphor for something much greater than just itself.

In understanding the ways in which symbols are given meaning in architecture, it is important
to delve deeper into how and why people see these symbols and signs as becoming defining
characteristics in their identity. The following chapter explores the notion of identity and
guides the study into how people ultimately see themselves as rooted or belonging to a place,
and the built form that is to be protected and nurtured for the links to their past to be
sustained.

22
2.1.5 Resultant Regional Identity

Identity is intricately linked to culture as a result of individuals from certain groups or

societies sharing common values and ways in which they perceive the world around them. It
is therefore safe to assume that identity is the product of a set of factors and influences
through which individuals see themselves and through which others see them. Jenkins (1996)
defines identity in the following way:

“Identity refers to the ways in which individuals and

collectives are distinguished in their social relations with
other individuals and collectives” (Jenkins, 1996: 4)

There are theorists who believe that modern identities are becoming disjointed and broken up.
They argue that a distinctive type of structural change is transforming modern societies (Hall,
1992: 274). This is fragmenting the cultural landscape of class, gender, sex, ethnicity, race
and nationality, which previously gave us firm locations as individuals. These
transformations are shifting our personal identities, undermining our sense of ourselves as
integrated subjects (Hall, 1992: 274). In order to understand the changing perspectives on the
nature of human beings, Stuart Hall (1992) gives the following, very differing, historical
definitions of identity:

The first definition of identity is derived from the enlightenment subject. It was based
on the concept that human beings were considered to be fully centred, unified
individuals, equipped with the capacity of reason, consciousness and action, and a
stable central inner core. In this instance an individual's identity first emerges when
the subject is born. The identity then evolves and develops as the individual grows
older, but still remains the same at the core. The individual is endowed with a fixed
identity from birth to death by means of ethnicity amongst others. This was a very
'individualist' conception of identity. (Hall, 1992: 275)

The second definition is derived from the concept of the sociological subject, whose
inner core is formed in relation to significant others in their lives, who mediated to the
subject the values, meanings, symbols - the culture - of the world that he or she
inhabited. According to this view, identity is formed through the interaction between

23
 self and society. In this situation, identity is something that is passed down from one
generation to another, and from contacts outside the immediate social world. This
definition bridges the gap between the inside and outside - between the personal and
public. (Hall, 1992: 276)

The third definition of identity is derived from the post-modern subject,
conceptualized as having no fixed, essential or permanent identity. Identity becomes
formed or transformed continuously in relation to the ways we are represented or
addressed in the cultural systems that surround us. It is historically defined, rather
than biologically. The consequence of this position is that identity can be selected,
imposed, assumed, or rejected according to how subjects perceive themselves, or how
they are categorised by others. This kind of identity is variable in space and time, and
a wide range of cultural resources can be used to construct such identities. (Hall,
1992: 277)

These transforming ways of defining identity can be traced back to the treatment of identity
in South Africa. Historically, identity was considered to be fixed forever, through ethnicity.
Taylor (1997) argues that the concept of identity based on race has origins traced back to the
eighteenth century, where scientists began producing classifications of humans according to
race. By the nineteenth century writers were not simply classifying humans according to
physical differences such as skin colour, hair type and facial characteristics, but were also
beginning to suggest that certain races were superior to others (Taylor, 1997: 111). These
classifications of persons according to physical differences gave rise to racism.

It was no coincidence that these ideas on race emerged at the same time that European
nations were developing colonial empires and the slave trade between Africa and America
was flourishing. If Europeans had accepted that Africans were human beings of equal
significance and importance then it would have been extremely difficult for them to justify
the slave trade. Africans had to endure torrid conditions, and were forced to adopt the
language and religion of their masters. Racial theories suggested that Blacks were inferior to
Whites, and less intellectually developed, suggesting they were better suited to manual
labour. In these cases it was seen fit for the Whites to dominate and the Blacks should act as
their servants (Taylor: 1997, 116).

24
When biological features are used to define identity, it understandably tends to be inflexible.
Hall (1992) argues that this inflexible approach has less of an influence on an individual as a
result of social processes occurring in modern society.

“The adult social identity one forms depends on (a)

available resources derived from the community, (b) how
an individual packages these resources into a configuration
that has meaning in that community, and (c) how that
person then strategically invests these resources in the lives
of people in that community,” (Cote & Levine, 2002: 123).

Compared to identity construction through the historical definitions previously mentioned,

this approach provides flexibility in that the individual could either define their own identity,
in the private sphere, or their identity could be defined by and in relation to others, in the
public sphere. These two types of identity formation may be similar, but can also be
contrasting, as social identity is based very much on the public's perception of the individual.
Personal and social factors relating to identity, can also be related to architecture, in terms of
creating relevant and meaningful environments which guide and allow mankind to develop
their personal identities effectively.

A further aspect of the issue of identity relates to the emergence of post-modern culture, in
particular to the process of globalisation and its impact of cultural identity. Postmodern
theorists claim that the boundaries between cultures are becoming blurred. According to
McGrew (1992) globalisation refers to those processes, operating on a global level, which cut
across national boundaries, integrating and connecting communities and organizations in new
space-time combinations, thus making the world in reality and in experience more
interconnected. This of course has a huge impact on an individual's sense of identity.
Individuals are exposed to far more resources than ever before, and can therefore draw on
influences from infinite sources. Postmodern theorists will argue that who we are as
individuals and where we belong have become much less certain because of the rapid change
occurring around us. Ernesto Laclau (1990) uses the concept of 'dislocation' when describing
modernity. He argues that modern society has no centre, no single articulating or organising
principle, and society does not develop according to the unfolding of a single cause or law. It
is constantly being 'de-centred' or dislocated by external forces.

25
Culture has many definitions and interpretations. In social settings, it is often used broadly to
represent entire ways of life. Included in such ways of life are rules, values, and expected
behaviors and at its most basic level, culture can be seen as the shared products of a society.
These products have a common meaning that accumulates over time which can also reflect
shared attachments among community members.

Culture can be seen as consisting of ideas, rules, and material dimensions. Ideas include such
things as the values, knowledge, and experience held by a culture. Values are shared ideas
and beliefs about what is morally right or wrong, or what is culturally desirable. Such values
are abstract concepts and are often based in religion or culture in that they reflect ideals and
visions of what society should be. Such values often shape expected behavior and rules.
These rules are accepted ways of doing things and represent guidelines for how people should
conduct themselves and how they should act towards others.

Values and rules are often taken for granted and are assumed to reflect a common
understanding. Both have direct origins and developed in response to conflicts or needs. At
the core of such values and norms is a process of interaction that led to their emergence and
acceptance. This process shapes the actions of individuals and social systems within their
communities.

Culture provides belonging and an arena in which residents can define and shape their
existence. It is clear that culture plays a critical role in local community action and personal
identity.

26
2.1.6 Conclusion

Culture, identity, heritage and the symbols pertaining to them - that we relate to as a society -
is something integral to mankind's existence. It defines people and their societies and is often
something expressive that is linked to a platform in which to express it. In terms of South
Africa, our cultural diversity is something to be celebrated. These platforms of celebration
can be experienced in tangible or intangible states, and the unique formulas that constitute
one's culture and heritage becomes their identity. Architecture can facilitate this and help to
preserve a regions particular identity, and this will be explored in the following sections.

27
2.2 ARCHITECTURE OF REVIVAL AND REJUVENATION

2.3.1 Introduction
The second section of the literature review deals with how architecture can gather and make
reference to the memory and emotional forces discussed above. From understanding the
importance of culture and heritage from a memory and meaning perspective, it gives
direction and opportunity to designers and architects to draw upon these forces to make
connections with the users of that space: that their feelings and emotions will be brought into
play.

2.3.2 The Environment and the Importance of Place: Spirit of Place

Modernism turned the world on its head. It approached life, and architecture, with a
deductive and abstractive approach, stripping away the 'unnecessary' - leaving, theoretically,
whatever was left of 'meaning and significance'. The failure and shortcomings of Modernism
is notoriously well known; but it left designers with a new challenge of where to turn next.
Within Postmodernist thinking, the theory of Phenomenology (and subsequently Critical
Regionalism, which will be discussed in the following chapter) is vaunted for its approach in
"returning to things" (Nesbitt, 412).

Christian Norberg-Schulz adapted Martin Heidegger's writings on phenomenology to create a

method in which architecture has the ability to make the environment meaningful through the
creation of specific places. The argument of historic and cultural preservation and
rejuvenation fits in very well with the notion of phenomenology: the Roman concept of
Genius Loci. It essentially means "the Spirit of the Place" and emphasizes the inherent
character and feel of the place and why people are drawn to. Fitch, a phenomenologist and
historian, suggests in his writings that historical and cultural sites have intrinsic value to
people - something that transcends the physicality of the built environment: the Spirit of that
place. (Borden, 54)

Norberg-Schulz and Pallasmaa (Nesbitt, 412) define dwelling as 'being in peace in a

protected place'. It suggests an underlying safety, an enclosure, to lead our lives in a given
environment. Our world is made up of concrete phenomena It is made up of objects, natural
and man-made. These concrete things are often, if not always, interrelated in complex and

28
unique ways. When these components come together, an environment or place is formed.
Delving further into the totality of concrete things, with each possessing a substance, shape,
texture and colour (Nesbitt; 414), it forms an environmental character, that, due to its unique
assemblage of its parts is individual and unlike any other place.

Man's need for meaning, order and rationalisation makes for an environment that becomes
symbolic of human existence; a process of carving out a niche whereby he exists in harmony
and protection. Therefore, architecture can be viewed as the enclosure - the act of marking
and differentiating a place within a space. Pallasmaa goes on to state that, Architecture being
a form of expressive art, the physicality of the form itself does not represent the meaning the
user experiences - it only forms in the user's consciousness.

“Form only affects our feelings through what it represents.”

(Nesbitt; 449)

Thoughts on his Post-Modernist responses follow:

"The efforts being made today to restore the richness of architectural idiom through the
diversity of form are based on lack of understanding of the essence of art. The richness of a
work of art lies in the vitality of the images it arouses, and - paradoxically - the images open
to most interpretations are aroused by the simplest, most archetypal forms. Post-Modernism's
return to ancient themes lack emotive power because these collages of architectural motifs
are no longer linked with phenomenologically authentic feelings true to architecture."
(Nesbitt, 412).

Architecture exists in another reality from our everyday life and pursuits. The emotional force
of ruins, of an abandoned house or rejected objects stems from the fact that they make us
imagine and share the fate of their owners. They seduce our imagination to wander away
from the world of everyday realities. The quality of architecture does not lie in the sense of
reality that it expresses,

When revitilisation schemes plan to raise the environmental quality of urban developments
and central districts, they need to adapt to not only meteorological, geographic and botanical
factors but social and cultural physiological and psychological factors as well. The most

29
valuable buildings in the nation, from a historical point of view, are usually centered within
urban districts. The urban areas surrounding these structures, however, due to their
conception in an age where building technology is worlds away from what exists today (and
the poor durability of these materials) are often abandoned and left to decay. Today Venice is
the prototype of this paradox: large sectors of the city is in an advanced stage of physical
deterioration - most of the housing is substandard. Yet, within this framework is some of the
world's rarest and most important architectural heritage. Added to this, it is the basis of
Venice's largest industry: tourism.

Figure 6 - Venice has some of the richest history and the most beautiful structures in the
world, yet it is fraught with the constant issue of decay due to the nature of being situated
on water. SOURCE: www.eurobuildings.info

Humans do not just 'exist' within a physical environment. As a society, mankind not only
interacts with the environment but derives significant meanings from it. The built
environment in which people interact with and conduct their lives are deeply embedded with
symbolism, and evoke various sentiments, meanings, emotions and ultimately have an impact
on peoples experience.

30
When creating an environment that enhances of draws from a historical and cultural
background, it is important that the main goal when designing environments for this purpose
is to take into account the Spirit of the Place; it has a significant impact on the individual
experiencing it, and will form the basis of the memory of that space. Placelessness, according
to Relph's book “Place and Placelessness”, refers to an environment as not having any
distinctive personality or sense of place that makes it unique. He states that urban designers
and architects ignore the meanings that places can evoke. Architects and designers disregard
and destroy authentic places and replace them with inauthentic ones (Relph, 1976; Preface).
The genius loci, spirit of place as well as sense of place all mean the same thing, even though
the terms used are different. Many authors like Cullen (1961), Conzen (1966), Sharp (1969),
Worskett (1969), Steele (1981) and England (1983) have discussed the issues of character
using terms such as spirit of place or genius loci and how every person perceives the
environment in their own way according to their reactions and emotional experiences (Jiven
& Larkham, 2003: 68-69). Schulz (1980:6-8) shares a similar view point to the above
mentioned authors and defines place as an environment that is made up of concrete things,
which all have a variety of different material substances, shapes, colours and textures. These
concrete things create a character in the environment. It is this character that gives place an
atmosphere. Cullen (1961: 9) expresses his view point on the genius loci as:

“… to take all the elements that go, to create the

environment: buildings, trees, nature, water, traffic… and
to weave them together in such a way that drama is
released. For a city is a dramatic event in the environment.”

A sense of place is a concept that has evolved which describes the quality of peoples
relationships with a place. It is usually defined as the way in which people feel about a place
and the impressions that they encompass, the way they sense it, as well as assigning values to
it. The importance of creating a sense of a place is highlighted by in maintaining the quality
of the environment as well as the integrity of human life that takes place within it, as this can
have an impact on people who use the space if a sense of place is not maintained or achieved.
(www.waset.org) A sense of place is peoples subjective perception of their environments and
their conscious feelings about those places. The sense of place is both interpretive and
emotional - a significant aspect of environmental experience. The emotional relationship
between people and places is the sense of place; the physical attributes as well as the

31
activities and meanings of a place all contribute to creating a sense of a place. The physical
attributes are the attributes and the characteristics of a landscape environment and these
features define the kind of place it is. Furthermore, it is not only the physical attributes that
contribute to a sense of place but it is also activities in encompasses. Every place is built for a
specific purpose so that some sort of activity can partake within the space of place.

Meaning is the last of the three elements that contribute to a sense of a place. It refers to the
peoples experience of a space and place (environment) both perceptually as well as the
impact it has on them psychologically. Peoples past experiences of a place, backgrounds,
memories, knowledge, culture, age, gender as well as their beliefs have an influence on the
sense of the place. Every person perceives a place differently. It can be summed up that the
interaction of humans and the environment is what creates a sense of place. (www.waset.org)

The word spirit in the spirit of the place is created by peoples actions, thoughts, values and
emotions who live and work within a specific place. (Day, 2003:40). It is the users experience
of space and his or her relationship with the environment where a spirit of the place is
brought about. Everyone's spirit of the place can ultimately be different as everyone
experiences and perceives places and spaces in their own way. Different places emanate a
variety of different auras and it is this aura that creates a spirit of a place in one's head (Day
2003:41). However the spirit of the place also influences and affects our behaviour, attitudes
as well as our moods:

“It is spirit-of-place that affects us in places”.

(Day 2003:41)

The spirit of the place is created through our five senses and experience of place. Lynch
shares a similar view to that mentioned by Day. Lynch's concept of "sensed quality of place"
is interpreted as being the overall perception of a place based on the separate sensations one
experiences in a place. He argues that the sensed quality of a place has an effect on well-
being. He justifies this by mentioning that many physical processes (e.g. breathing and
hearing) are mediated by sensory cues. Backing this up, he argues that a sensed quality of
place affects an individual's well-being.

32
 ....what one can see, how it feels underfoot, the smell of the
air, the sounds of bells and motorcycles, how patterns of
these sensations make up the quality of places, and how
that quality affects our immediate well-being, our actions,
our feelings, and our understandings....
(Lynch, 1976:8-9)

It is therefore important for architects and urban designers to consider the role that senses
play in the architectural environment. The design of the built environment should enhance the
sensory experience of an environment as this plays an important part in the well being of an
individual. Essentially, environments that enhance the sensory experience in a delightful
manner will be the environments which enhance the well being of its user and will ultimately
offer many opportunities for social interaction to occur.

2.3.3 The Essence of Place-making: Critical Regionalism

The exploration of Genius Loci and Phenomenology of Place have led to the architectural
theory of Critical Regionalism. Critical Regionalism gives priority to the value of a physical,
social and cultural setting. Comprising of the theory are the engagement and accentuation of
the site, the use of local materials and response to factors such as light and climate. The
combined result of these elements can be used to improve and enhance people's experience
with buildings and the space they create; thus creating a sense of place, identity and meaning.
(Lefaivre, L and Tzonis, A; 2003)

The drive for more meaning in modern buildings has had many followers, but most famously,
are the views expressed by Kenneth Frampton. In his book "Towards a Critical Regionalism:
Six Points of an Architecture of Resistance." he asks questions of how to move concurrently
with a modern and advancing world, while still retaining the core source that makes the
region unique and special. Frampton believes that Critical Regionalism should accept the
advances that modern architecture has brought, but at the same time, architects should regard
the responses and impacts the structure will have on the physical context and the human
social aspects. Many of the issues brought up have to do with an architecture that deals with
the geographical aspects of the area, such as topography, climate, light etc. He also states that

33
emphasis should fall on tectonic form rather than the scenography, and that the connection to
the tactile sense is of more importance than the visual aspects.

Culture and Civilisation

"Modern building is now so universally conditioned by optimised technology that the

possibility of creating significant urban form has becomes extremely limited." (Frampton,
1983: 17).

"Coupled with this is the demise of the city fabric, which leads to the demise of the
corresponding urban culture. With the onslaught of universal civilization stirred by increasing
hunger for development, freestanding high-rises and freeways more concerned with utility,
culture's expression of its being and collective reality is squandered." (Frampton, 1983: 17).

Frampton discusses the nature, or the state of the building, to be controlled or conditioned by
the building industry to the point where it becomes restrictive. This eventually leads to
stripping the building down to its bare elements and structures that try to hide their
"nothingness" with concealing detail and over-analysed facades. The world has become so
globalised that the possibility of creating a unique form (individual to the region/country) is
limited. Due to technology, buildings have become a mass-produced item. Some of the
architects that design in this vein is Richard Rogers.

Frampton (1983) then compared the city fabric of a traditional European city and a modern
megalopolis like Los Angeles. It exposes the fact that without culture being introduced early
on in its development that the transformation will be extremely detrimental. The
responsibility doesn't lie solely on the architect's shoulders, but is something that the entire
community need to be a part of. Frampton states that the two causes to the decay of the city
fabric are the freestanding high-rises and the serpentine freeways. This is very true, as the
need to access everything immediately (so many roads) has taken up so much space that it is
limiting the natural growth of staying close to the ground. It has forced the city to soar
skywards. This high and powerful image of the city, for example, the skyline of New York,
is very impressive; but is it to the detriment of the culture? Is it not saying one thing: bigger is
better? But the main issue is the link with media and the portrayal that developing countries
should strive for an "image" of a city like that of New York. They are given the message to
attain the image of this foreign culture - one that has nothing or very little in common with

34
their own culture. It has reached a point where people are being dazzled with technology and
the characteristics and intricacies of that particular region are overpowered and neglected.

Figure 7 - The skyline of New York is unquestionably impressive and powerful, yet it
is representative of one single country. SOURCE: www.liveskyline.com

The Rise and Fall of the Avant-Garde

The Rise and Fall of the Avant-Garde is basically the rising and falling of the Modern
movement (as it is rooted in Modernism). It stands for "cutting edge" and is an inseparable
aspect of society and architecture in Modernisation and the important role it has played to a
universal civilisation. It has played differing roles over many centuries, whereby it started as
a progressive, liberating force, yet lead to the alienation of the middle class (bourgeois
culture).

This separation of class has contributed to people wanting to attain a different life situation -
striving for something that is foreign but appealing.

"The avant-garde becomes a self-referential entity whose role in societal change is

minimised." Despite this stance, however, Frampton states that "the arts have nonetheless
continued to gravitate, if not towards entertainment, then certainly towards commodity and -
in the case of that which Charles Jenks has since classified as Post-Modern Architecture -
towards pure technique or pure scenography."

35
The basis of what Avant-Garde is, is a string of never-ending newness. Every commodity has
a lifespan that will inevitably become old and outdated in a very short period of time. The
insatiable craving that it represents is only fed by the time it takes to bring out something
new. And in terms of Architecture, the Modern movement has been the movement that began
the trend for copying the technology and appearance of a building and simply pasting it in a
new country; irrespective of the change in climate and especially context and culture. Critical
Regionalism is an attempt to preserve the ideal of what has been or what is today's culture. It
is opposing of the avant-garde ruling of what it states as culture.

Critical Regionalism and World Culture

The name given to a new strategy for a recognition of the culture accepting their place is
called "arriere-garde". It is situated equally between the 'Enlightenment myth of progress' and
the reactionary return to vernacular forms of the particular region. Frampton suggests that the
arriere-garde position will generate a "resistant, identity-giving culture ... having discreet
recourse to universal technique." (Frampton, 1983: 36).

It is in this point that Critical Regionalism speaks famously about a balance between
advancing with the world and needing to have a connection to one’s culture and history. In
this point, Frampton also discusses World Culture and Universal Civilisation. The world
culture is the 'now' while the universal civilisation is more abstract - relating to 'what has
come before' Again, his guide through the notion of Critical Regionalism is to have a balance
between the two opposites.

Tzonis states: "...no new architecture can emerge without a new kind of relations between
designer and user, without new kinds of programs. Despite these limitations, Critical
Regionalism is a bridge over which any humanistic architecture of the future must pass."
(Tzonis; Lefaivre 1992: 27)

Critical Regionalism will be a mediator of the relationship between universal civilisation and
the nature particular to the region or place. To maintain its critical edge, it is important to be
aware of the draw of Populism. This movement seeks to take the place of reality with
information often found in the form of imagery that is found in advertising. Critical
Regionalism's stance is that there should be a recognition of both world culture and universal
civilisation. This recognition must mediate the world culture by deconstructing the

36
eclecticism of acquired alien forms and the universal civilisation by limiting the economy of
technological production. (Frampton, 1983: 26).

The Resistance of the Place-Form

"...the condition of "dwelling" and hence, ultimately "being" can only take place in a domain
that is clearly bounded." (Frampton 1983; 24)

The megalopolis is taking over the urban areas. It replaces the place bound urban form with
theoretical networks and distributive logistics. The universal technique generates
'placelessness' that cannot be made to feel special or unique. Frampton also states that
development is being ruled and driven by a set of written rules. The city and urban fabric is
growing in a manner now that is disregarding the context or culture. The city form is derived
from text rather than the immediate context.

The Megalopolis is something that is consuming endless cities. It is a fluctuating

phenomenon as it is purely based on the ever changing progress in the universe. If a bounded
area is defined and developed it will resist the continual fluctuation.

"As we move into the unknown territories of the twenty first century, the unresolved conflict
between globalisation and diversity and the unanswered question of choosing between
international intervention and identity, are increasingly leading to crises as vital as the threat
of nuclear catastrophe in the middle of the last century. The task of critical regionalism is to
rethink architecture through the concept of region. Whether this involves complex human ties
or the balance of the ecosystem, it is opposed to mindlessly adopting the narcissistic dogmas
in the name of universality, leading to environments that are economically costly and
economically destructive to the human community. What we call the critical regionalist
approach to design and the architecture of identity, recognises the value of the singular and
circumscribes projects within the physical, social and cultural constraints of the particular,
aiming at sustaining diversity while benefitting from universality (Tzonis; Lefaivre 1992: 20)

37
Culture versus Nature

Culture versus Nature deals with the respect of nature and its elements.

The first issue that Frampton brings up in the modernist way of treating the site: to
completely flatten it to maximise on economy of use and to have an easy and rational layout
of a building. removing the lay of the land to make a greater profit from the building (only
one of the reasons) is a universal technique that leads directly to 'placelessness'. Critical
Regionalism instead embraces the land as a recognition of the regions geologic and
agricultural history. This will lead to the building interacting with its site - not merely sitting
on top of it. The building would become entwined with its site.

"..."in-laying' the building into the site has many levels of significance, for it has the capacity
to embody, in built form, the prehistory of the place, its archaeological past and its
subsequent cultivation of transformation across time. Through this layering into the site the
idiosyncrasies of place find their expression without falling into sentimentality." (Frampton
1983: 26)

The physical aspects of a building's performance (light and climate) is another aspect that is
important to deal with in a regional manner. The acceptance of climate and the challenges it
will bring is something that should not be shied away from. The integration of techniques that
capture or divert the prevailing winds, for example, will be an element of the building that
will be true to itself. Dealing with the elements with design will make buildings real and true
to context.

"Despite the critical importance of topography and light, the primary principal of
architectural autonomy resides in the tectonic rather than the scenographic. It is obvious that
this discourse of the load borne (the beam) and the load bearing (the column) cannot be
brought into being where the structure is masked or otherwise concealed." (Frampton 1983:
27) Buildings which are honest will connect better with the occupants and the people who
experience the building firsthand - that the structure should be an expression of the function.

38
The Visual versus the Tactile

This final point is where Frampton suggests a way of resisting the domination of universal
technology. When the material and technology is not specific, it becomes impersonal. To read
ones surroundings without only one sense, the visual, and to embrace the area with touch
would result in people reacting better and more deeply with their environment.

"One has in mind a whole range of complimentary sensory perceptions which are registered
by the labile body: the intensity of light, darkness heat and cold; the feeling of humidity; the
aroma of material; the almost palpable presence of masonry as the body senses its own
confinement; the momentum of an induced gait and the relative inertial of the body as it
traverses the floor, the echoing resonance of our own footfall." (Frampton 1983: 28)

Ando's words: "Light changes expression with time. I believe that the architectural materials
do not end with wood and concrete that have tangible forms but go beyond to include light
and wind which appeal to our senses. Detail exists as the most important element in
expressing identity. Thus, to me, the detail is an element which achieves the physical
composition of architecture, but at the same time, it is a generator of an image of
architecture." (Nesbitt: 475)

The building must be about the experience. To create architecture that will heighten our
sense, other than sight, will have a much deeper effect on the people in that space. In this
way, Critical Regionalism seeks to compliment visual experience by readdressing the tactile
range of human perception.

39
Cultural Centre Tjibaou (Jean Marie Tjibaou Cultural Center)

New Caledonia

Renzo Piano Building Workshop 1998

Figure 8 - The line of "huts" in keeping with the Kanak Culture. SOURCE: www.worldofluxury.ro

The cultural centre is dedicated to Jean-Marie Tjibaou, who died in 1989 while leading the
fight for his country's independence from the French government. It is devoted to the cultural
origins and the search of identity of the native Kanak people of New Caledonia and the South
Pacific Regions.

The layout of the centre has direct correlations to the social functioning of the Kanak people
in their tribes and villages: everything has a hierarchy attached to it to distinguish the
different functions and roles of the people, and most importantly, an organisational layout to
link the tribe using a central path which the huts are dispersed.

40
The cultural centre is composed of three 'villages' made up of ten "great houses" of varying
sizes and functions (exhibitions spaces, multimedia library, cafeteria, conference and lecture
rooms). The 'Great Houses' are linked by a long, gently curving enclosed walkway,
reminiscent of the ceremonial alley of the traditional Kanak village. The 10 Great Houses
have a consistent form of vertically positioned shell-like structures which resemble the
traditional huts of a Caledonian village. They were given a deliberate unfinished appearance
as a symbol that the Kanak culture is still in the process of 'becoming'.

This outlook epitomises the view of Critical Regionalism: to aid a country and community
that was in political upheaval and clouded by violence, and turn it around to revive its ailing
culture and restore its identity. Since this country is newly independent, the process of
'becoming' is very important. This process will aid the people in rediscovering their past and
what makes their culture unique and special.

41
2.3.4 Architectural Responses to Decay

Why do spaces fall into disuse? Traditionally town centers have been at the heart of urban
civilisation, where a multitude of commercial, retail, cultural and governmental activities and
functions are uniquely concentrated. Recently however, a series of powerful economic,
demographic, social and cultural trends have detracted from their crucial role. Pollution,
congestion, unsafe streets and the closure of long established shops have resulted in a loss of
identity and appeal. (Evans; 15)

Adaptive re-use is a route in bringing new life to an old structure where the intention isn't
necessarily to adhere to its original purpose and operation. Adaptive re-use is seen by many
as a key factor in land conservation and projects can assist in the reduction of urban sprawl.
However, adaptive reuse can become controversial as there is sometimes a blurred line
between renovation, facadism and adaptive reuse. For cynics, it can be regarded as a
compromise between historic preservation and demolition; but the value of bringing an old,
abandoned building into the 21st century to make it relevant once again, can only add to the
character and meaning of the building.

What are the benefits of adaptively reusing heritage buildings?

Adaptive reuse of buildings has a major role to play in the sustainable development of
communities. When adaptive reuse involves historic buildings, environmental benefits are
more significant, as these buildings offer so much to the landscape, identity and amenity of
the communities they belong to. (www.environment.gov.au)

One of the main environmental benefits of reusing buildings is the retention of the original
building's embodied energy. Embodied energy is the energy consumed by all of the processes
associated with the production of a building - from the acquisition of natural resources to
product delivery, including mining, manufacturing of materials and equipment, transport and
administrative functions. By reusing buildings, their embodied energy is retained, making the
project much more environmentally sustainable than an entirely new construction. New
buildings have much higher embodied energy costs than buildings that are adaptively reused.
Studies done by the Australian Greenhouse Office notes that the reuse of building materials
usually involves a saving of approximately 95 per cent of embodied energy that would

42
otherwise be wasted. In this context the reuse of heritage buildings makes good sense.
(www.environment.gov.au)

Keeping and reusing historic buildings has long-term benefits for the communities that value
them. When done effectively, adaptive reuse can restore and maintain the historical
significance of a building and help to ensure its survival. Rather than falling into disrepair
through neglect, heritage buildings that are sympathetically recycled can continue to be used
and appreciated. Increasingly, communities, governments and developers are seeking ways
to reduce the environmental, social and economic costs of continued urban development and
expansion. The quality and design of the built environment in our towns and cities are vital
to our standard of living and our impact upon natural resources. In the context of local
government planning, heritage has merged with more general environmental and quality-of-
life concerns in recent years. Communities increasingly recognise that future generations will
benefit from the protection of certain places and areas, including heritage places. Our
lifestyle is enhanced not just from the retention of heritage buildings, but from their
adaptation into accessible and useable places. (www.environment.gov.au)

Town planners and councils that recognise and promote the benefits of adaptive reuse of
heritage buildings will be contributing to the livability and sustainability of their
communities.

There are several financial savings and returns to be made from adaptive reuse of historic
buildings. Embodied energy savings from not demolishing a building will only increase with
the predicted rise of energy costs in the future. While there is no definitive research on the
market appeal of reused heritage buildings, they have been popular because of their
originality and historic authenticity. A study for the NSW Heritage Council that included four
adaptive reuse or redevelopment sites revealed that "the combination of financial incentives
and the commercially oriented nature of the adaptive re-use schemes outweighed any extra
heritage related costs and project risks". The study also concluded that “these sympathetic
adaptive re-use schemes have created commercially viable investment assets for the owners”.

43
Adaptive re-use as being a challenge and a way for promoting innovation:
The adaptation of heritage buildings presents a genuine challenge to architects and designers
to find innovative solutions. As development pressures increase in cities, more heritage
buildings are being reused, producing some excellent examples of creative designs that retain
heritage significance.

In summation, the six benefits are listed below:

Recycles an existing building

Conserves embodied energy

Saves useful materials from the landfill

Revives under-utilised resources

Becomes an alternate to sprawl & greenfield development

Preserves historical landmarks

The case of the Moderna Museet in Malmö, Sweden shows how the old industrial
architecture of a former Electricity plant dating back to 1900 can be re-used in a way that can
create a new node within the city, thus fulfilling an even bigger role than the preservation and
reinterpretation of a cluster of buildings. The existing buildings were positioned alongside a
canal that utilised the water in the cooling of the machinery. Now disused, the banks of the
canal were empty and dead. With the re-use of the building into something that would attract
people, uplifting the adjoining spaces and the community, it has successfully alleviated the
abandoned and dead sense of the precinct.

Figure 9 - The red dot marks the location Figure 10 - The new, minimal steel clad façade is in stark
of the museum - along a public strip contrast to the masonry buildings that neighbour it.
beside the canal. SOURCE: SOURCE: www.archdaily.com
www.archdaily.com

44
Figure 11 - The exploded view of the structure Figure 12 - A section and elevation showing the
shows how new meets old, where the old juxtaposition of new and old, and how they can successfully
building provides the underpinning, and the merge to become a new building, yet steeped in meaning
new has clothed it with a new look, denoting and memory. SOURCE: www.archdaily.com
its new function. SOURCE:
www.archdaily.com

The success of the Moderna Museet is that the permeable interface between the internal and
external is very well executed and the modern and 'new' it has brought to the precinct;
validating the old buildings by showing that they need not be destroyed but reinterpreted in a
new time and space.

Adaptive reuse has been successful in South Africa too, including projects such as the
Victoria and Alfred Waterfront Development, the historic district of Braamfontein, Cape
Quarter and areas of Knysna.

The Thesen Island development in Knysna retained two of the historic wood mill buildings
and revived them to cater for a changed time and economy. The Turbine Boutique Hotel and
the Weylandts building have been saved and transformed to respond to the exclusive island.
The Turbine Hotel's structure is renewed and the distinctive plumes and exposed materials
lend it a distinctive character and presence in amongst the mixed-use buildings and
residences of the island. The Weylandts building is a protected saw-tooth building that was
once dedicated to ship building and other things pertaining to the maritime industry. The fact

45
that it is now an interior design showroom is unfortunate, but the listed building has been
lovingly restored and lives again, lending the interior space a unique quality and expansive
volume for displays.

Figure 13 - Approaching the Turbine Boutique Hotel - Figure 14 - The side entrance into
distinctly characterised by retaining the chimney plumes. the Island Café has a combination
SOURCE: image taken by author of old and new materials,
effectively showing how the two
can successfully mix. SOURCE:
image taken by author

Figure 15 - The exposed

Figure 16 - The eastern wing of the boutique hotel has a
brickwork adds to the tangible
new extension that employs the use of modern materials
history of the structure, yet it is
yet shares the same silhouette as the old structure, tying
paired with modern fixtures and
the two together. SOURCE: image taken by author
fittings to bring the building up-
to-date. SOURCE: image taken
by author

46
 Figure 17 - The exposed brickwork adds to the Figure 18 - The eastern wing of the boutique hotel
tangible history of the structure, yet it is paired has a new extension that employs the use of
with modern fixtures and fittings to bring the modern materials yet shares the same silhouette as
building up-to-date. SOURCE: image taken by the old structure, tying the two together. SOURCE:
author image taken by author

Catalyst developments are specific in that the inception of a centered programme causes
ripples of impact and upliftment in a wider context. They not only benefit the users in the
'epicentre' but affect a wide-ranging set of industry and business, bringing new life to these
areas. Successful cases of these type of developments in South Africa include, Melrose Arch,
Gateway and Dube Tradeport which are of significant importance to the growth of the
country.

The case of the historic port city of Bilbao is one of particular interest as its wide-ranging
effects go beyond the city bounds, and benefit the region and Spain itself. The museum has
challenged the adjoining spaces to improve too, most notably being Calatrava's bridge beside
the museum. The eccentric, curvilinear form of the museum has become a symbol of the
effort to revive Bilbao, and its success in this regard is something to be celebrated.

Figure 19 - The distinctive curvilinear form of the Figure 20 - The distinctive curvilinear form of
Guggenheim Museum, Bilbao. SOURCE the Guggenheim Museum, Bilbao. SOURCE
www.rosemariestillarch1390-2010.blogspot.com www.rosemariestillarch1390-

47
Figure 21 - The planning development and systems employed to integrate the museum
with the rest of the city. SOURCE www.rosemariestillarch1390-2010.blogspot.com

48
2.3.5 New Urbanism Principals

New Urbanism is a movement against the Modernist planning methods; ones that encourage
urban sprawl and buildings that do not fit into their contexts. Jane Jacobs states that New
Urbanism is a step forward in comparison to the arrangement of buildings, streets and public
spaces that Modernism produced.

“The architects who created Modernism had continued

to produce one masterpiece after another, but
Modernism had not been able to produce an average
street that came alive”. (Hale 1994:136)

In opposition to Modernism, New Urbanists believe that there is a place for great, free
standing architectural masterpiece - buildings of civic importance such as theatres, museums,
libraries, art galleries. However, the importance of these structures lies behind the way in
which the environment is planned and organised. New Urbanist planners produce
environments that enhance the public realm in their designs, regardless of the architecture of
a specific building (Cliff 2002: 274).

New Urbanism aims at creating friendly, walkable, compact, vibrant, mixed use communities
that address the physical health and social wellbeing of its users. In terms of the principles
that guide the theory behind New Urbanism, these can help create environments that enhance
the wellbeing of the users as well as creating more opportunities for people to interact, to
enliven social bonds and create a community. New Urbanism has a strong emphasis on
community and maintains this with the creation of parks, open spaces, and community
gathering spaces like public squares which are crucial to the wellbeing of the users in the
urban environment (www.newurbanism.org). New Urbanism aims at creating a high level of
quality physical world of buildings, streets, plazas and parks that encourage social interaction
among people from all walks of life. It upholds inclusive and democratic spaces, and
therefore is very applicable in South Africa's context, where, as a nation, there is still a big
social divide.

49
Solomon (1992: 46) further defines New Urbanism as not focusing specifically on
architectural style but rather on the spatial structure of beautiful cities and towns. He
emphasizes this point as the most important:

“buildings alone don’t matter; it is only the ensemble of

streets, lots, and buildings, and the way they fit together
that comprise the basis of town making”.

The ten key principals to a New Urbanism approach:

Walkability: The first principal is to create environments where walking is encouraged and
mixed use facilities are close by to avoid the use of cars. Physical activity is enhanced which
is beneficial for the health of the users. By creating environments that are pedestrian friendly
as opposed to vehicle dominated conditions, stress levels of the individuals are reduced and it
enables people to interact, mingle and form social bonds. (www.newurbanism.org)

Figure 22 - Walkability: By designating an epicentre and placing activities around it, it

shows how people will be encouraged to walk to a place rather than use a car or other
forms of transport. SOURCE www.whiteflintpartnership.com

50
Connectivity: A high quality pedestrian network and open public realm encourages walking
and makes for a pleasurable experience for users. To achieve this, a simple interconnected
grid system that disperses traffic by providing should be considered, allowing for a variety of
pedestrian and vehicular routes to and from any destination. (www.newurbanism.org)

Figure 23 - Connectivity: A regular grid allows for simple way-finding and

doesn't create dead spaces. SOURCE www.pedshed.net

Mixed-Use & Diversity: By creating a built environment that encourages a mixed use of
functions i.e. shops, offices, apartments and public facilities that encourage a diversity of
people, spaces will become more vibrant and active. This spin off will have economic
benefits as well as socially integrating people from differing age groups, race groups and
cultural backgrounds. It also has a passive benefit of creating a safer environments where
people can feel relaxed and free in public space. (www.newurbanism.org)

Figure 24 - Mixed Use: Mixed use buildings become structures that are used 24 hours a day with multiple
functions being housed in them. SOURCE www.floraw.com

51
Mixed Housing: Creating a range of types, sizes and pricing of housing within a close
proximity allows for a diversity of users as well as different socio-economic backgrounds to
be able to live in the same environment. (www.newurbanism.org)

Figure 25 - Mixed Housing: This example of BIG Group's 8 House showcases the ability and success of creating
apartments that cater for a range of users, allowing effective social integration with a close living quarters.
SOURCE www.kuiper.nl

Quality Architecture & Urban Design: People respond well to aesthetically pleasing
structures. An architectural aesthetic that is true to its region and one that is of human scale
results in human comfort and optimises the sense of place of the area. Well thought out and
calculated placement of public facilities and public spaces allows for easy accessibility to the
broader community. Architectural environments that are of a correct scale, injected with life
and pedestrian friendly nourish the human spirit which is importance for the well-being of the
individuals. (www.newurbanism.org)

Traditional Neighbourhood Structure: Creating environments that have a definite public

space at the centre with permeable edges. This central space is usually a square or a park. The
buildings are to contain a variety of uses and densities and are to be in close walking distance
to the rest of the community. (www.newurbanism.org)

Increased Density: Buildings, residential places, shops and offices should be designed to be
close together in order to create a more efficient use of services and resources. It also has the
benefit of creating environments that promote walking (point one). By increasing the
densities of buildings and their functions allow for a more convenient, enjoyable place to live
because everything is easily accessible and available. (www.newurbanism.org)

52
Smart Transportation: By creating streets that are relatively narrow and are shaded by rows
of trees, it naturally slows traffic down and creates an environment that is far more pedestrian
and bicycle-friendly. In some instances parking is made available parallel to the streets to
create a buffer between pedestrians and cars. A pedestrian friendly environment is created to
encourage a greater amount of people to use walking as a form of transport which has
positive impacts on peoples overall health. It also allows for social interaction to occur and
for one to experience the spirit of the place in which they work and live.
(www.newurbanism.org)

Figure 26 - Smart Transportation: efficient and clean transportation is a major component in

developing a sustainable and liveable environment. The San Diego Trolley is both efficient
and can transport a large number of people with ease. SOURCE www.upload.wikimedia.org

Sustainability: For sustainability to be taken seriously and done correctly, new developments
are to have minimal impact on the environment and respect nature and the environment.
Materials and resources need to be energy efficient and less harmful to the environment.
(www.newurbanism.org)

Figure 27 - Sustainability: The new NASA headquarters employs a wide variety of sustainable
methods and techniques in the building. A drive to create efficient and green buildings is
essential as our natural resources are a finite commodity. SOURCE www.archdaily.net

53
Quality of Life: When combined, the above principles that New Urbanism adheres to creates
a 'whole' that results in architectural environments that offer a high quality of life. These
environments are well worth living for that enrich, uplift and inspire the human spirit. All
these elements are important in the overall feel of the space and affect the users in a positive
manner. (www.newurbanism.org).

2.3.6 Conclusion
New Urbanism aims at the well-being of the collective society, and the ten principals for the
basis of creating such inclusive spaces. The need for public transport and decreasing vehicle
dominated contexts increases the opportunities for people to interact with each other and
different spaces. It creates healthier environments only improve the lives of people.

New Urbanistic environments aim to create a higher quality of life, ideal places to live, work
and play. Less traffic congestion and driving creates a healthier lifestyle with more walking
and less stress, with the added convenience of the availability and proximity to everyday
retail and services. Most importantly, New Urbanism strives to create communities by
creating pedestrian friendly environments which give people more opportunities to get to
know each other, resulting in meaningful relationships with more people and creating a
friendlier environments for the users. New Urbanism can revitalise city centres that are ailing
and can bring life back to the heart of the city creating a sense of place worth living for.
Currently many cities all over the world are confronting the problems of sprawl, traffic jams,
deteriorating downtowns, environmental degradation and sheer ugliness. These environments
are dangerous, cause stress and are a detriment to the people that use it. Through architecture
and careful design, one can revitalise these environments and transform them into places that
are beautiful and bring life back to towns and cities, creating an experience for the user that is
healthy and creates opportunities for social interaction.

54
3.0 CHAPTER THREE: KEY PRECEDENT STUDY
Genova's Historic Waterfront Redevelopment, Genoa, Italy.
3.1 Introduction
The international example that best suits this study is Genoa's Old Harbour redevelopment by
Renzo Piano Design Workshop. It has a combination of catalyst and adaptive reuse structures
that combine to revitalise the old and disused harbour, and in doing so, evoke memories and
transport people back in time to celebrate the history and heritage it possesses. The reason
why this is an important and relevant precedent study is the fact that there is a wealth of
history and meaning attached to the port, and the purveyors of this significant site went about
reviving it in a sensitive and thoughtful way. There are many physical and emotional parallels
with regard to the author’s personal study, and learning from Genova’s Historic Waterfront
Redevelopment will be of significant benefit.

3.2 Analysis:
3.2.1 Background
For more than a century Genoa has been an industrial city. It has a strong tradition of public
services, and it is still the most important Mediterranean port for goods and passengers. When
many city services relocated to the upper parts of the city, and harbour activities moved to
another area of the waterfront, the area that was the 'heart' of the port city became neglected.
To rectify this, the port authorities and the municipality reached an agreement which has led
to the revival of the waterfront and the creation of a common development strategy. Several
revitalisation and redevelopment schemes have taken place, chief of which is Renzo Piano's
contribution to making the Old Harbour an interactive civic space.

3.2.2 Historic and Cultural Framework

Genoa dates back many hundred years when a number of wealthy merchant families
capitalised on the positioning of the port in the Mediterranean for trade with the East and as a
basis for explorations in the West. The most famous story to emerge out of Genoa is
Christopher Columbus' discovery of the new World. Life revolved around the port and the
trade of goods. (Cruickshank 1993; 36)

55
Figure 28 - The historic city of Genoa in the 16th century. SOURCE: Architectural Digest, Cruickshank 1993; 36

The historic nature of the city means that it has a very strong genius loci, rooted in the
architecture and aesthetics of the ancient streets. The position of the area close to the
waterfront and the city centre, with good transport links, are an invaluable asset.

Figure 29 - The Bigo is the new symbol of the Figure 30 - The Biosphere dome is the most recent
regenerated harbour. It is inspired by the derricks addition to the upliftment scheme and houses the
that rise from the decks of the cargo ships. Attached most varied collection of ferns in the world.
to the tallest 'arm' is a type of cable car that gives SOURCE: www.flickr.com
visitors a bird's eye view of the historic city.
SOURCE: www.flickr.com

3.2.3 Reasons for its Decay

The old harbour fell into disuse as trade and the shipping industry advanced. Bigger vessels
meant that they could not enter the relatively small harbour confines. The odd cruise liner
came into port, but not nearly regularly enough to keep the area bustling with people. Added
to this, a new road effectively split the harbour from the town center. It acted as a barrier
from people using the harbour edge. This was a major factor in rectifying in order to
reestablish links with the town centre and the rest of Genoa. (Cruickshank 1993; 37)

56
Figure 31 - The red illustrates the new road and how it Figure 32 - The solution to the issue was to create a
separated the town centre from the harbour. SOURCE: bypass for the vehicles. The red line indicates an over-
www.googleearth.com pass and the dotted black line is a new tunnel. The green
indicates how the two halves are now joined. SOURCE:
www.googleearth.com

3.2.4 Rejuvenation of the Old Harbour

The overall approach to regeneration has been based on gaining public interest and investors'
focus in the city of Genoa. A comprehensive regeneration programme in the historic centre
has restored the most important ancient palaces; improved dwelling standards; reduced social
problems; supported the local economy; and has improved public transport. In addition, a
complete renewal of the waterfront is taking place. This process is converting the industrial
port into a series of new urban spaces with converted warehouses and a new parking and
traffic management system. Together, the regeneration of the old harbour and the
development of new buildings have improved the attractiveness of Genoa as a tourist
destination which proudly celebrates their heritage and culture.

Figure 33 - The Bigo. SOURCE: Architectural Figure 34 - the new addition is the ship-shaped
Digest Cruickshank 1993; 38 aquarium. SOURCE: Architectural Digest
Cruickshank 1993; 38

57
3.3 Maps and pictures
Genoa’s successful regeneration approach has been praised as a model for other revitalisation
schemes to follow.

Figure 35 - The Acquario di Genova is the largest aquarium in Europe. SOURCE:

www.petanqueandpastis.com

Figure 36 - The Bigo illuminated at night. SOURCE:

www.flickr.com

58
Figure 37 - The Acquario di Genova is the largest aquarium in Europe. It is a long and slender structure that
was inspired by vessels. People walk below its "bow" to enter. SOURCE: www.petanqueandpastis.com

Figure 38 - The plan of the new harbour development. SOURCE: Architectural Digest Cruickshank 1993; 36

Figure 39 - A section taken through the Cotton Warehouse and a new addition auditorium addition.
SOURCE: Architectural Digest Cruickshank 1993; 41

59
Figure 40 - A view of the Cotton Warehouse that faces the harbour. The old building
was constructed in 1902 and now has been revived, adding a retail and
display/performance component to the harbour, while still retaining the historic feel and
heritage. SOURCE: www.flikr.com

Figure 41 - A section through the old cotton warehouse building. The old building was
constructed in 1902 and has now been revived and adaptively reused to cater for a
different time and need. The addition of a staircase and new floors makes occupation
and use of this building better, yet the character and feel of the building still remains
intact. SOURCE: Architectural Digest Cruickshank 1993; 41

60
3.4 Discussion
The redevelopment of the Old Harbour has significance to this study not only in the built
responses that that have resurrected the area and brought new life to the harbour edge: it has
drawn on memory, emotions and symbols to define and distinguish this port from any other.
Renzo Piano has cleverly approached the redesign in a sensitive and thoughtful manner,
employing theories of Critical Regionalism - moving forward with the advances in
technology and construction that is afforded to our time - while drawing on the context to
conjure up memories while showcasing its history and heritage. It's most important asset is
the Spirit of the Place it has properly defined and enhanced. It has a character unlike any
other harbour due to its particular history and heritage, but now people can access and enjoy
it within a safe and secure public realm.

The structures and nodes created along the water's edge, for example the Bigo and the new
Aquarium, are steeped in meaning and provide ample opportunities for memories to be both
evoked and generated by drawing from its past. They are modern symbols that tell a story and
link the present to the past in an incredible way.

Due to the historic nature of the port city, limited opportunities to apply New Urbanism
principals exist. However, better links and more efficient modes of transport have been
implemented and serve to inject life to the old harbour.

3.5 Conclusion
The case of Genova's Old Harbour is an important and successful scheme that has become the
most celebrated civic space in Genoa. The combination of new and old structures that have
been rejuvenated and re-interpreted for today's society lends the area a unique character and
feel that showcases its heritage and is proud of it. By addressing the issues of decay and
overcoming them by tapping into its heritage, it serves as a brilliant example to learn from
and be inspired by.

61
4.0 CHAPTER FOUR: CASE STUDIES
4.1 Knysna's Waterfront, Knysna, Western Cape, South Africa

4.1.1 Justification of case study

When driving down South Africa's coastline, one is struck by the beauty and natural variety
of our landscape. Arguably, none is more impressive than the Garden Route. Every town
along the Western Cape coastline has a character that isn't purely defined by the sea and
"beach culture" like KwaZulu-Natal is. A.W. Wells has this to say about Knysna in his book
"South Africa":

"Knysna's charms are considerable, and embrace

forest, mountains, sea and river scenery, and its points
of interest are even more varied and numerous than its
charms." (Wells; 54)

Knysna has a long history that has a number of parallels with the town of Port Shepstone.
Firstly, it is a coastal town and port. Though it has a much larger water body with the natural
enclosure defined by the two "heads" marking the entry point for sea-travelers, it was
populated by European settlers in the mid 1800's, of which a significant party were
Norwegian and English. An island within the port has been named after one of the most
influential families settling there called Thesen Island, formally known as Paarden island.

Industrial activity within the port ceased in 1954 and it took until the early 1990's to
transform the working water frontage to something that the residents and visitors could
exploit and enjoy. Thesen Island and the waterfront site were littered with disused industrial
buildings, and it wasn't until 1992 that plans were put in motion to create a waterfront that
brought people to the water's edge. The shift from industrial activity driving the town to
tourism has had an impact on the town and its built form, and new buildings were needed to
cater for this new need. (Perks 1962; 14)

Like Port Shepstone, Knysna is a very seasonal town. According to the GeoNames
geographical database there are 63106 permanent residents, but in holiday season, this
reaches up to 150,000 people (mongabay.com). It therefore feeds off of the seasonal visitors
and incorporates a lot of activities as well as displaying their history and culture for everyone

62
to see. The main reason for choosing Knysna's waterfront as a case study is that is employs
the concept of revival and rejuvenation while creating something new. It is a catalyst
development that has had a major role in transforming the scenic coastal town.

4.1.2 Analysis
4.1.2.1 Site Location
The waterfront is located on the water's edge in front of the historic town of Knysna. The
entrance to the waterfront is along Grey Street, but it can also be accessed off of Head and
Union Street. Long Street leads to Thesen Island. It takes full advantage of the prime location
overlooking the estuary. It is a beautiful space to be in.

Figure 42 - Knysna Waterfront SOURCE: Jawitz Figure 43 - Knysna Waterfront SOURCE: Jawitz

Figure 44 - Knysna Waterfront SOURCE: Architecture SA, December 1996: 21

63
4.1.2.2 Vegetation
Knysna was known for its timber industry. It was the financial back-bone of the region until
laws were put in place to protect the indigenous forests. The region receives yearlong rainfall
and so a wide variety of plant species can be found.

4.1.2.3 Climate
The Garden Route has a Mediterranean Maritime climate, with moderately hot summers, and
mild to chilly winters. It is one of the highest rainfall areas in South Africa. Most of the rain
occurs in the winter months, brought on by the humid sea-winds from the Indian ocean. The
Garden Route's temperate weather falls between two climatic regions of summer and winter
rainfall so it rains mostly at night which keeps the area perennially green thus ensuring towns
such as Knysna enjoy a wonderful climate year-round.

4.1.2.4 Historic and Cultural Setting

Knysna has a significant and well recorded history that is evidenced from virtually every
place in the town. Dotted along the vibrant streets are clues to its heritage in the form of
protected buildings and spaces surrounding them. Knysna supports a number of culturally
minded-facilitates such as art galleries, museums, flower shows and of national significance,
the Oyster Festival and Knysna Hill Climb. But it is the waterfront that attracts and combines
much of Knysna's culture and activity in once public space. It not only acts as a tourist
attraction - the locals frequent the restaurants and the public space right on the water's edge. It
has formed the base for the Yacht Club and the majority of water-related activities centre
around it. The 'cupped' shape of the waterfront brings boats into its epicenter - a notion of
vessels docking and being protected within its confines.

Figure 45 - an old boat shed on the Figure 46 - boats and steamers passed through the
water's edge, which doesn't exist today "Knysna Heads" into the safety and shelter the
SOURCE: Palframan, B, The Lantern estuary provided. SOURCE: Palframan, B, The
May 1990: 68 Lantern May 1990: 65

64
4.1.2.5 Knysna's Waterfront
The waterfront is very unassuming building. It is a long and slender structure that arcs to
form a "bay", nestling the boats in its arms. It is only two stories high, with a variety of shops
and restaurants. It is well spaced with ample room for people meandering through the space it
defines. The materials are varied and include concrete and brick super structure, with steel
elements and wooden decking on the first floor. Brick paving has been employed for the
ground floor and is extremely durable.
The entrance is defined by two structures that define a pathway to the water. This line is an
extension of Grey Street, and forms a definite axis that links the street and the waterfront. The
two feed off one another. The open public space has areas where people can sit and enjoy the
scenery.

4.1.3 Maps and pictures

The following pages explore the space around the waterfront and

Figure 47 - The main entrance into the Waterfront. SOURCE: image taken by author

65
Figure 48 - The view overlooking the estuary and the boats and yachts that dock in its shelter.
SOURCE: image taken by author

Figure 49 - the two-story building that houses recreational and craft shops as well as restaurants.
SOURCE: image taken by author

66
Figure 50 - the axis that continues on from Grey Street. SOURCE: image taken by author

Figure 51 - The small scale of the development is in keeping with the town. It is human scale
and fits into its context very well. SOURCE: image taken by author

67
Figure 52 - the many curio and craft shops that cater for the numerous tourists. SOURCE: image
taken by author

Figure 53 - Grey Street has seen a massive improvement thanks to the waterfront development.
The facilities and interest the waterfront garnered uplifted the town and spurred other spaces in
the town to improve. SOURCE: image taken by author

68
Figure 54 - numerous parts of historic ship machinery is dotted throughout the town. They serve
as reminders of its past and become memory links to the port. SOURCE: image taken by author

Figure 55 - The red represents the active urban edges in the waterfront. SOURCE: Architecture
SA

69
4.1.4 Discussion

According to the qualitative research (see Appendix 1) there is a general appreciation for the
waterfront among the local residents. They enjoy spending time at the restaurants and
enjoying the beautiful setting. Some express concerns with it only catering for tourists, but
this is a minority view. The fact of the matter is that the waterfront is the most visited space
in Knysna and generates tremendous activity, interest and revenue.

An aesthetics committee was established and brought in to advise with regard to scale, height
and local appropriateness. It is evident that Critical Regionalism theories guided the design of
the structures. A focus on the context and environment has resulted is a building that is not
dominant and does not over power its neighbours. It fits into its context well and does not
obstruct views over the estuary. In terms of its materiality, it is not very cohesive, but the
materials are hardy and weather resistant to cope with the close proximity to the ocean.

There is a variety of land-use and wide-ranging interest for people in the general vicinity. It
encourages people to walk, and their well-being and activity is stimulated. Even though
Knysna has been a result of continual improvement rather than a clean-sheet town redesign, it
has elements of New Urbanism principals where it encourages people to walk and has a
mixture of facilities and mixed-use abilities that foster frequent usage. Housing, albeit very
expensive and exclusive, is right beside the waterfront, but the majority of the units are
holiday homes and do not stimulate the activity in the vicinity. All the activity comes from
outside.

The Waterfront has a brilliant connection to the water and vessels that are nearby and pass
within the waterfront create a very strong link to the area as it once was a port. Tourist
excursions leaving from the waterfront only heighten this connection with the water.

What has not been incorporated into the waterfront is a strong sense of the history of the area
and its cultural past. What dominates is that it is, primarily, a successful economic venture.
The spins-off it's had with regard to the Quays and Thessen Island is testament to that fact.
The waterfront reflects the shift in focus from Knysna being a working harbour to becoming
one of the most recognised leisure and tourism destinations in South Africa: and that in itself
has become its new identity.

70
4.1.5 Conclusion

Knysna has benefitted enormously from the addition of a waterfront to its town. As an
example of architecture aiding in reviving and rejuvenating an area and a town, it is very
good. Added to the fact that it has a similar setting to that of Port Shepstone and its histories
are relatively paralleled, it serves as a brilliant example in which to learn and draw from
when creating new urban space in Port Shepstone. The shortfall of this example is the fact
that there is little to no attempt in reusing old structures or preserving elements of the old
industrial past, like the precedent study of Geona displayed. However, there are still elements
of its former being with the vessels and its connection to the water in conjunction with the
intangible sense of place that one experiences when visiting.

71
4.2 Case Study: Msundusi Museum Isigcinamagugu Including the
Voortrekker Complex, Pietermaritzburg, KwaZulu-Natal, South Africa

4.2.1 Justification of case study

South Africa's rich heritage and diverse cultures are often kept apart and viewed in isolation.
This particular museum gathers all the respective histories in the greater KwaZulu-Natal
region and displays them in one single location. The buildings within the complex have also
undergone adaptive re-use transformations to garner interest and attention while protecting
them.

This case study is of relevance as it gives insight in how various cultures and histories can be
brought together to be housed and displayed within one complex.

4.2.2 Analysis
4.2.2.1 Site Location
The museum is located in the heart of Pietermaritzburg. It is situated between
Longmarket/Langalibalele and Church Street. It is an open air museum, meaning that is it a
complex that is made up of many structures. The complex is made up of the Main Buildings,
the Church of the Vow, the Andries Pretorius House and the E.G. Jansen Extension. The
Statues of Piet Retief and Gerrit Maritz, as well as a replica of a Shiva Temple and a Zulu
Hut complete the complex. Beside it is the new taxi rank, so the area is bustling with people.
Informal traders line the streets that bound the site, yet the complex of buildings remains
quiet - a reprieve from the loud and busy city.

Figure 56 - Aerial view of the Msundusi Museum. Figure 57 - The historic complex of buildings in
SOURCE: www.googleearth.com relation to one another. SOURCE: Official
Msundusi Museum Pamphlet

72
4.2.2.2 Historic and Cultural Setting
The city of Pietermaritzburg was originally founded by the Voortrekkers, following the defeat
of Dingane at the Battle of Blood River. It was the capital of the short-lived Boer republic,
Natalia. Britain took over Pietermaritzburg in 1843 and it became the capital of the Natal
Colony's administration, with the first lieutenant-governor, Martin West, making it his home.
Fort Napier, named after the governor of the Cape Colony, Sir George Thomas Napier, was
built to house a garrison. In 1893 Natal received responsibility for their own government and
an assembly building was built along with the city hall. In 1910, when the Union of South
Africa was formed, Natal became a province of the union, and Pietermaritzburg remained the
capital. (www.kwazulu-natal.co.za)

4.2.2.3 Internal versus External Space

The Main Building is Victorian in style and was built in 1902. It has the most voluminous
space within compared to the other buildings, yet the main entrance is not ostentatious and
grand. The intended use of this building was a girls school, but now it has been adapted to
house artifacts and relics of settler history in the region.

Figure 58 - The sedate main entrance. SOURCE: Figure 59 - The entrance into the complex
image taken by author parking. SOURCE: image taken by author

Being an open air museum, the experience is all-encompassing as one can walk around as
well as into the various buildings. Spatially, it was never intended to become a museum, so
the placement of the buildings is as a result of how they were built in decades gone by. There
are large spaces in which to gather and more intimate spaces in which to reflect. The
buildings themselves are protected and there is limited access some of the structures as they
are fragile.

73
4.2.2.4 Historic and Cultural Preservation
The museum does house very valuable and important artifacts and goods, but it is far from a
static display, frozen in time. The education department of the museum, run by Riana Mulder,
has a vested interest in having craft market days monthly to give craftsmen the opportunity to
showcase and sell their goods. In this way, it is promoting the continuation of our culture and
heritage. There are plans to make the displays more interactive as most of the user base are
school groups.

4.2.3 Maps and Pictures

Figure 60 - The Voortrekker Commemorative Church. SOURCE: image taken by

author

74
Figure 61 - The "L" shaped Main Building. SOURCE: image taken by author

Figure 62- The statue of Gert Maritz with the new taxi rank behind. SOURCE:
image taken by author

75
Figure 63 - the traditional Zulu Hut situated in front of the parking lot. SOURCE:
image taken by author

Figure 64 - the Shiva temple also situated in front of the parking lot. SOURCE:
image taken by author

76
Figure 65 - the Church of the Vow. SOURCE: image taken by author

Figure 66 - the Andries Pretorius House. SOURCE: image taken by author

77
Figure 67 - one of the displays in the Main Building. SOURCE: image taken by author

Figure 68 - an old wagon from the 19C dominates the floor space with displays around
it. SOURCE: image taken by author

78
Figure 69 - the encased displays in the "Zulu" section. SOURCE: image taken by
author

Figure 70 - there are a few modern features housed within the museum, such as this
TV that displays the events of the Boer war. SOURCE: image taken by author

79
Figure 71 - the old buildings were never designed to store and exhibit valuable artefacts.
The buildings in the complex have been retro-fitted with air-conditioning units to keep
temperatures and humidity levels low. SOURCE: image taken by author

Figure 72 - another example of one of the niche displays in the Main Building.
SOURCE: image taken by author

80
4.2.4 Discussion
The Msundusi museum is different to most museums as it is not a merely a static display of
artifacts from our country's past. It is involving, not only for people who visit, but it actively
engages the surrounding communities through their education department. There are market
days where the gates are open to informal traders and craftsmen that have the opportunity to
sell their merchandise, therefore engaging the public and providing a platform for economic
return.

Figure 73 - an image taken of the courtyard where Figure 74 - a "team building" day as part of an
traders are setting up stalls for a market day. educational outreach programme to uplift and
SOURCE: image taken by Riana Mullder inform people of their heritage and culture.
SOURCE: image taken by Riana Mullder

The buildings themselves are of a historic nature, but the feeling and quality of space that one
experiences when visiting is what should be taken from this example. They evoke a sense of
history and the artifacts that they house tell a historical story. It is an effective example of
showing how the preservation of heritage and culture can aid a community and provide a
setting that evokes and generates memories.

The spaces between the buildings have been designed in a way to offer people a chance to
reflect upon the information and displays they've encountered. Outside the Andries Pretorius
House is a large jacaranda tree with benches underneath, arranged in a circle - very simple,
yet a space in which to think and dwell. Being in a space that allows for contemplation and
memory generation is a key feature to incorporate into the design. It allows the user to take in
what he/she has experienced and have a greater connection to the Spirit of the Place.

81
 Figure 75 - a circular seating arrangement around a large jacaranda tree provides
a contemplative space in which to reflect and dwell on the history and culture
experienced at the Msundusi Museum. SOURCE: image taken by author

4.2.5 Conclusions

The case study undertaken at the Msundusi Museum was extremely beneficial to the research
in showing how people from such varied cultural and historic backgrounds can come together
to form a complex that works in unison while showcasing the inclusive and accepting identity
of a new South Africa. It differs from what will result from this study in that it is not a new,
contemporary facility, but at its core is the preservation and bolstering of cultural and historic
identity for its region, and that is to be brought into the design for a new museum in Port
Shepstone.

82
5.0 DISCUSSION AND ANALYSIS
5.1 Revival and Rejuvenation
Without a connection to place; a link that roots us in a community and space, mankind loses
past of his identity. Much of the world is undergoing this stripping of culture and heritage by
becoming consumed with faceless and foreign cultures that do not have those origins in their
country or regions. By employing a sensitive approach to design and drawing on contextual
and regionally appropriate forces, as designers we can imbue a place or space with meaning;
one that showcases an identity particular to the that region. The first step in doing this is
preserving what is special, unique and valuable to a place.

Architecturally, a development with interest and quality design that relates to its context (its
intangible aspects like history and culture and tangible aspects like scale and typology) will
aid renewal and rejuvenation. By creating something that fits in with its surroundings while
attaching functions that will interest users, a space will become full of life and vibrancy .

The two case studies examined the different responses in preserving and celebrating their
respective cultures and heritage. The case of Knysna captures the essence of rejuvenation of
heritage and culture in taking a disused space and turning it into the most visited place in the
tow. It has captured the Spirit of the Place. It has brought the water and boats into the
development, accentuating the space and creating an environment that is interesting and
special. It also employs elements of Critical Regionalism by drawing from its context, while
utilising modern building materials and methods. It's an experience that stimulates the senses
and provides a backdrop where memories can be made.

5.2 Heritage and Spirit of Place

The case of the Msundusi Museum in Pietermaritzburg is special and relevant to this study in
that it gives insight in how various cultures and histories can be brought together to be housed
and displayed within one complex, creating an atmosphere of unity. It is evidenced that
semiotics play a large role in imparting meaning and symbolism through the various cultures
- that people connect to a heritage that relates to their specific background and history.
The buildings within the complex have also undergone adaptive re-use transformations to
garner interest and attention while protecting them. Not too much has been changed, as these
are protected buildings,

83
6.0 CONCLUSION
6.1 Summary of Findings
This study has covered a wide range of theories and concepts surrounding what constitutes
heritage, culture and identity and how architecture can be brought in to act as a form of
celebration. The research findings provide comprehensive literature regarding the problems
stated in this dissertation. The objective was to identify the issues and find possible solutions
by conducting thorough studies on theories related to architecture. This created a contextual
and critical understanding of these issues.

The literature review was crucial in establishing a theoretical base in which to understand the
various components that merge together to form a successful revival scheme. By drawing
from a grounding of culture, identity and memory, true meaning and significance in the built
form will result. Ultimately, what can be described as Genius Loci or the Spirit of Place will
be felt – evoking memories and creating an environment that feels unique and special.

The second part to the literature review focussed on the more tangible aspects of a revival
scheme. Critical Regionalism and New Urbanism provides essential guides in creating good,
quality architecture through a set of basic rules and systems.

One precedent study and two case studies were conducted. They were critical in
understanding how the theory and reality meet, and if that connection is tangible, imparting a
true weight and connection for the user. It was found that semiotics played a significant role
in evoking memories, creating a strong link between environment and meaning. By drawing
on cultural factors and boosting the identity of the region, a stronger sense of Spirit of Place
results.

The case studies also showed what weaknesses to address and what pitfalls to avoid. Evident
in Knysna’s waterfront, meaning and culture was not the main focus. Commercial success is
what drives the development. However, there are good spaces within and allow for people to
connect to their surroundings, even if it is a secondary role.

By visiting the Msundusi Museum, an understanding of how to exhibit a diverse and wide
range of cultural artefacts was gained. It gave an exemplary example of how to connect the
various cultures and histories into one experience, yet still make each ‘sector’ significant in
its own right.

84
The interviews conducted with the staff at the Msundusi Museum and the questionnaire from
the Knysna study helped form a deeper understanding of the places and how they represent
South Africa’s culture, heritage and identity. Both places have strong and weak points, and
identifying them to avoid potential pitfalls and highlight the strengths was noted.

Through the in-depth research, it is clear that heritage and culture are essential parts of
society. The primary question in this study was to find out how architecture can renew the
cultural and historical heritage of a place.

6.2 Conclusion
It was hypothesized that architectural rejuvenation can be a key element in aiding the historic
and cultural significance and would bring renewed interest to the residents and visitors of the
area. Simultaneously, such architecture uplifts the community through the provision of a
reference point from which their progression can be traced, as well as promoting future
growth with an understanding of the past and their connection to it.

The theoretical information gained and the precedent and case studies examined supports the
stated hypothesis. It has been found that architecture is a very powerful tool in which to
celebrate culture and heritage, but smaller, regional cultures are often left to decay and slip
from the public eye. Architecture's power to represent, provide a basis, and be associated with
a particular heritage and culture has been realised; and the best building typology in which to
showcase this in a museum where it becomes a gathering point for the region's history.
Furthermore, the research has shown how heritage and culture must be reflected in the built
environment in order for people who inhabit those environments to connect to them.

A set of Key Questions was posed at the beginning of the research. Through the literature
review and the case study, these questions can now be answered:

What is the definition of culture and heritage? Culture is defined as all the products of society
- material and nonmaterial. Society is a crucial element of culture. It consists of interacting
people living in the same territory who share a common culture, one that over time bears
witness to stories and products that mark a peoples existence.

85
How can an iconic structure uplift and create excitement throughout a larger/urban scheme?
Through good design and thoughtful and strategic placement of areas of specific interest,
such as transport nodes, vibrant retail sectors and quieter, reflective spaces allow the user to
absorb their surroundings and engage with the history and heritage that is on display.

What impact does the built environment have on its users and their perception and memory?
A significant impact is felt by the users familiar to the region. Being filled with memory
evoking signs and symbols conjures up memories and creates a further level of connection.

How can the focus not only be on revival and rejuvenation of the existing but prepare and
cater for the prolonged use of the development; that a new history can unfold? By employing
New Urbanist theories, the site will have easier access for people and include areas of mixed-
use development where a residential component will be crucial to the sustained use of the
area.

What type of building/development will showcase the area's culture and heritage? A Museum
will showcase the history and heritage in the best possible way. It allows for large, flexible
spaces and gives a user the opportunity to walk through an unfolding story. A development
located in the heart of the area of historic significance will be unbeatable.

In echoing the National Heritage Resources Act 25, let us not forget that our heritage is
unique, it celebrates our achievements and can contribute to readdressing past inequalities. It
educates, it deepens our understanding of society and encourages us to empathise with the
experience of others. It facilitates healing and material and symbolic restitution and it
promotes new and previously neglected research into our rich traditions and customs.

6.3 Avenues for Further Research

This study was focused on reviving the heritage and culture of a particular area. Part of what
constitutes that was Port Shepstone being a working port. A different avenue in reviving it
could be explored, by studying the dynamics of twenty-first century transport and how
transport interchange affects people. Studies into how that could have an economic payoff
and become a means whereby jobs are made available to the low income residents, which
takes up the majority share in the economic scale of the region.

86
6.4 Recommendations
Through the analysis of the research, the following recommendations that should be
incorporated into an architectural design follow:

Enhance open spaces by creating links to experience the specific places where the
historic events took place, drawing on emotional chords and evoking memories.

Within the scope of the built works, make reference to symbolic things that evoke
memories and foster feelings of connection to the area.

Provide the necessary facilities to encourage public participation in outreach and
educational events.

Draw on contextual forces that will imbue the design with meaning and Spirit of Place so
that the museum should become one with its context.

Make special reference to water and use it as a possible design generator, as people have
an intrinsic connection to it. It also facilitates a contemplative and quiet aura, benefitting
the nature of a museum.

A public building should be able to cater for all people and all age groups. Displays
should be interactive and easily understandable.

Written information for displays should be in the various languages of the people so that
all can understand.

Static displays and inflexible spaces make for uneventful experience when returning
more than once. It should be the aim of the museum to change and rearrange displays
fairly often.

The building should respond to the climate of the region.

A development should cater for people in all social and income groups - a socially
inclusive space that reflects South Africa's rainbow nation.

87
7.0 APPENDICES (Pre-fieldwork data, fieldwork samples)

88
 CASE STUDY

QUESTIONNAIRE: Knysna and its Waterfront

Name:~----------------------------

Location:---------------

1) How long have you lived in Knysna?

2) Do you think the waterfront and surrounding developments have been a success as it stands today? Please
motivate your answer.

3) Has tj1e waterfront as a commercial and entertainment hub subtracted from the hea1t of the town itself?

4) lfthe waterfi·ont wasn't surrounded by residential properties, do you think it would survive without those
regular users?

5) Has the waterfront added to the unique essence that is '·Knysna" or is it purely a commercial tourist
attraction?

6) Would you say that the waterfront is the place with the largest public space in Knysna? Could that be a reason
for its attraction?

7) The town has a lot of history, and in particular, heritage buildings. Does modem development take this
history into account and is it evident in the architecture that is created? Would you say that the waterfront is in
keeping with the feel of the rest of the tov.m?

8) Do you think the waterfront developments have been sensitive to the immediate environment?

9) Is there anything you would change about the waterfront deveiopment')

Tbe School ofAn::hitccrure. Planning and HoU$ing

Durban. South :\frica

 3 May 2012

INTERVIEW QUESTIONNAIRE: Msundusi Museum incl. Voortrekker Complex

Name:_ _ _ _ _ _ _ _ _ _ _ _ __

Position:-------------

1) What is the biggest challenge you face when converting an old historic building into a museum?

2) Is there a chronology in how the displays are set out? Is it meant to read as a journey through
time?

3) What are the advantages of having a complex of buildings as a museum?

4) What are some of the disadvantages of the complex of buildings?

5} How many visitors do you get a month? Of that, how many are scholars?

6) Is there a reflection in the breakdown of race-groups that visit due to the variety of culturally and
historically focussed displays?

7} Does the gift shop turn over a lot of merchandise?

8} Is there sufficient parking?

9) How is it ensured that the displays aren't tampered with or defaced?

10) Is there a need to have displays that are modernised and interactive?

2
11) Does humidity and moisture affect the displays? If so, what is done to prevent it?

12) How has lighting the displays in these old buildings been approached?

13) In terms of a modern building housing these types of artefacts, what would need to be
considered?

Other relevant information:

8.0 REFERENCES and BIBLIOGRAPHY

Primary sources:

COTE, J & LEVINE, G (2002), Identity Formulation, Agency and Culture: A Social,
Psychological Synthesis, Lawrence Erlbaum Associated Publishers, London

BLOOMER, K.C and MOORE, C.W. (1977). Body, Memory and Architecture. London: Yale
University Press.

BORDEN,I; RENDELL,J (2000) Intersections: Architectural Histories and Critical

Theories. Routledge, London.

BREBNER, J. (1982). Environmental Psychology and Building Design. London: Applied

Science Publishers.

BUNT, H;S JENCKS (1980) Semiotics of Architecture' in Signs, Symbols, and Architecture.
ed Broadbent, John Wiley and Sons, New York.

DAY, C:

2002. Spirit and Place. Oxford: Architectural Press.

2004. Places of the Soul – Architecture and Environmental Design as a Healing Art.
Oxford: Architecture Press.

FRAMPTON, K:

1983. Towards A Critical Regionalism: Six Points For an Architecture of Resistance

(Essay in 'Post-modern Culture' edited by Hal Foster). Pluto Press. London.

1985, Modern Architecture: A Critical History, Thames and Hudson Ltd: London

1996, Place, Form and Cultural Identity, Domus no 673, June,

HALL, S 1992, The Question of Cultural Identity, Modernity and Its Futures, The Open
University, Cambridge.

HEIDEGGER, M. (1971). Poetry, Language and Thought. New York: Harper and Row.

HOYLE, B. (Editor). (1996). Cityports, Coastal Zones and Regional Change. John Wiley &
Sons Ltd. England.

89
JENKS, C. (1969), ‘Semiology and Architecture’ in Charles Jencks and George Baird, eds.
Meaning in Architecture,

LEFAIRVRE, L; TZONIS, A (2003). Critical Regionalism: Architecture & Identity In A

Globalised World. Prestel Publishing Ltd. London.

LYNCH, K (1960), The Image of the City, The Technology Press and Harvard University
Press, Cambridge

NESBITT, K (1996) Theorising a New Agenda for Architecture: An Anthology of

Architectural Theory - 1965 - 1995. Princeton Architectural Press, New York.

NORBERG-SCHULZ, C:

1971. Existence, Space and Architecture. New York: Praeger Publishers.

1979. Genius Loci: Towards a Phenomenology of Architecture, Rizzoli, New York

OLIVER, P (1997), Encyclopaedia of Vernacular Architecture of the World Vol. 1,

Cambridge University Press, Cambridge

TAYLOR, M. LEVINE, M, (2011) Prospects for an Ethics of Architecture. Routledge

Publishers, New York

TZONIS, A & LEFAIVRE, L (1992), Architecture in Europe since 1968: Memory and
Invention, Thames and Hudson, London

Relevant unpublished research (dissertations/ theses):

DE VILLIERS, O (2010). The object of experience : a phenomenological approach to

exhibition space in the Ditsong : National Museum of Natural History. Masters of
Architecture. University of Pretoria.

KEARNEY, B. (1995). A Preliminary Historical Outline of the Point. Masters of

Architecture. University of KwaZulu-Natal

SAULICK, J. (2002). Urban Revitalisation: An Urban Empowerment Centre on the Durban

Fringe. Masters of Architecture. University of KwaZulu-Natal

90
DENT, D 2004. Destination Station: A Tourist Information Centre for KwaZulu-Natal.
University of KwaZulu-Natal

PERKS, D. 1961. A Town Centre For Knysna. Bachelor of Architecture. University of

KwaZulu-Natal.

Relevant published research:

MUNRO, CF. Semiotics, Aesthetics and Architecture. British Journal of Aesthetics, Vo\ 27,
No 2, Spring 1987

BOUISSAC,P. (1998) "Space as Memory: Some Implications for the Semiotics of Space". In
Culture-Sign-Space-Raum-Zeichen-Culture.

CRUICKSHANK, D 1993 Genoa Drama. Architectural Review. January 1993

DEBEN, L 1992. Urban Revitalisation and the Revival of Urban Culture. Built Environment
Vol. 18 No. 2

De KLERK, F.W. 1996. Debates of the Constitutional Assembly, 29 March to 8 May 1996.
Vol. I. Pretoria: Government Printer.

DEWAR, D 1992. South African Cities: A Framework of Intervention. Architecture SA.

May/June 1992

PAULING, C. 2002. Tourism Focussed - The Clock Tower Retail Centre and Gateway to
Robben Island. Planning. Jan/Feb 179

PALFRAMAN, B. 1990. A Norwegian Family of Knysna Pioneers. The Lantern: May 1990.

de TOLLY, P. 1992. Cape Town's Central Waterfront. Architecture SA. May/June

GOUDIE, S. 1995. Postmodern f(r)irctions: History, text and identity at the Victoria and
Alfred Waterfront. Architecture SA. May/June

MBEKI, T. 1996. Statement of the Deputy Presendent T.M. Mbeki, on behalf of the ANC, on
occasion of the adoption by the Constitutional Assembly of the Republic of South Africa
Constitution Bill in Cape Town.

Internet references:

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15/04/2012)

http://kwazulu-natal.co.za/13.Fact-File-Pietermaritzburg.htm (accessed 11/04/2012)

http://traveljapanblog.com/wordpress/wp-content/uploads/2012/02/DSC_1530viking-
ship-museum.jpg (accessed 10/05/2012)

91

http://population.mongabay.com/population/south-africa/988698/knysna (accessed
04/03/2012)

http://www.dac.gov.za/acts/a25-99.pdf (accessed 15/04/2012)

http://www.archdaily.com/55428/moderna-museet-malmo-tham-videgard-arkitekter/
(accessed 12/03/2012)

http://www.guggenheim.org/guggenheim-foundation/architecture/bilbao (accessed
13/03/2012)

http://rosemariestillarch1390-2010.blogspot.com/2010/10/case-study-guggenheim-
museum-bilbao.html (accessed 19/04/2012)

http://www.newurbanism.org (accessed 19/05/2012)

http://www.waset.org/journals/ijhss/v6/v6-3-28.pdf (accessed 08/05/2012)

Picture references:

Figure 1 - Culture and mankind, The Seven Components of Culture (image online)
http://www.docstoc.com/docs/11056047/Seven-Components-of-Culture (accessed
20/03/2012)
Figure 2 - South African Culture (image online)
http://www.dissanet.com/ifla/pdf/LIASA%2001%20Bredekamp.pdf (accessed
24/03/2012)

Figure 3 - Rebuilding Dresden (image online)

http://stevehollier.files.wordpress.com/2011/01/frauenkirche-ruine-1967.jpg (accessed
15/02/2012)
Figure 4 - Sights of Dresden (image online) http://www.cleanme.us/wp-
content/uploads/2011/10/Dresden_Frauenkirche.jpg (accessed 15/02/2012)
Figure 5 - Semiotics Triangle (image online)
http://members.westnet.com.au/emmas/2p/figs/fig9.gif (accessed 15/02/2012)
Figure 6 - Venice (image online)
http://eurobuildings.info/wallpapers/italy/venice_w003.jpg (accessed 27/03/2012)
Figure 7 - New York Skyplie (image online)
http://liveskyline.com/blog/wp-content/uploads/2012/06/new-york-city-skyline-united-
states.jpg (accessed 27/03/2012)
Figure 8 - Culture in New Caledonia (image online)

92
http://www.worldofluxury.ro/2011/09/01/jean-marie-tjibaou-cultural-centre-in-new-
caledonia/ (accessed 27/03/2012)
Figure 9 - Moderna Museet Malmo Tham Videgard Arkitekter (image online)
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(accessed 15/02/2012)
Figure 10 - Moderna Museet Malmo Tham Videgard Arkitekter (image online)
http://www.archdaily.com/55428/moderna-museet-malmo-tham-videgard-arkitekter/
(accessed 15/02/2012)
Figure 11 - Moderna Museet Malmo Tham Videgard Arkitekter (image online)
http://www.archdaily.com/55428/moderna-museet-malmo-tham-videgard-arkitekter/
(accessed 15/02/2012)
Figure 12 - Moderna Museet Malmo Tham Videgard Arkitekter (image online)
http://www.archdaily.com/55428/moderna-museet-malmo-tham-videgard-arkitekter/
(accessed 15/02/2012)
Figure 13 - image taken by author (27/01/2012)
Figure 14 - image taken by author (27/01/2012)
Figure 15 - image taken by author (27/01/2012)
Figure 16 - image taken by author (27/01/2012)
Figure 17 - image taken by author (27/01/2012)
Figure 18 - image taken by author (27/01/2012)
Figure 19 - Guggenheim Museum in Bilbao (image online) http://rosemariestillarch1390-
2010.blogspot.com/2010/10/case-study-guggenheim-museum-bilbao.html (accessed
15/04/2012)
Figure 20 - Guggenheim Museum in Bilbao (image online) http://rosemariestillarch1390-
2010.blogspot.com/2010/10/case-study-guggenheim-museum-bilbao.html (accessed
15/04/2012)
Figure 21 - Guggenheim Museum in Bilbao (image online) http://rosemariestillarch1390-
2010.blogspot.com/2010/10/case-study-guggenheim-museum-bilbao.html (accessed
15/04/2012)
Figure 22 - Walkability (image online) http://www.whiteflintpartnership.com/beta/wp-
content/uploads/2011/05/Walkability_Map.jpg (accessed 27/06/2012)
Figure 23 - Connectivity diagram (image online) http://pedshed.net/blog/wp-
content/uploads/2007/06/connectivity_diagram.gif (accessed 27/06/2012)

93
Figure 24 - Mixed Use (image online)
http://www.floraw.com/data/file/collection//files/attach/images/452296/663/618/section-
a.jpg; http://www.archdaily.com/207/bryghusgrunden-mixed-use-copenhagen-denmar-
oma/section-c/ (accessed 27/06/2012)
Figure 25 - Mixed Housing (image online) http://www10.aeccafe.com/blogs/arch-
showcase/files/2011/05/8H_Floor-Plan-Apartment-Level-3_01_1.jpg;
http://www.positive-magazine.com/architecture/big-group-8house-copenhagen-denmark/
(accessed 27/06/2012)
Figure 26 - Smart Transportation (image online)
http://upload.wikimedia.org/wikipedia/commons/1/13/San_Diego_Trolley_going_throug
h_downtown.jpg (accessed 27/06/2012)
Figure 27 - Sustainability (image online) http://ad009cdnb.archdaily.net/wp-
content/uploads/2012/05/1335976740-nasa-sustainability-base-exterior--c--cesar-rubio-
courtesy-william-mcdonough---partners.jpg; http://www.archdaily.com/231211/nasa-
sustainability-base-william-mcdonough-partners-and-aecom/nasa-strategies-diagram-
2012-william-mcdonough-partners_3/ (accessed 27/06/2012)
Figure 28 - Genoa Drama, Architectural Digest. June 1993. p 36
Figure 29 - Genoa (image online) http://www.flickr.com/photos/43355952@N06/
galleries/72157622879731337 (accessed 17/03/2012)
Figure 30 - Genoa (image online) http://www.flickr.com/photos/43355952@N06/
galleries/72157622879731337 (accessed 17/03/2012)
Figure 31 - goggleearth.com (accessed 12/03/2012)
Figure 32 - goggleearth.com (accessed 12/03/2012)
Figure 33 - Genoa Drama, Architectural Digest. June 1993. p 38
Figure 34 - Genoa Drama, Architectural Digest. June 1993. p 38
Figure 35 - Genoa (image online) http://www.petanqueandpastis.com (accessed
14/04/2012)
Figure 36 - Genoa (image online) http://www.flickr.com/photos/43355952@N06/
galleries/72157622879731337 (accessed 17/03/2012)
Figure 37 - Genoa (image online) http://www.petanqueandpastis.com (accessed
14/04/2012)
Figure 38 - Genoa Drama, Architectural Digest. June 1993. p 36
Figure 39 - Genoa Drama, Architectural Digest. June 1993. p 37

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Figure 40 - Genoa (image online)
http://www.flickr.com/photos/egosumdaniel/2836556937/sizes/o/in/photostream/
(accessed 14/04/2012)

Figure 41 - Genoa Drama, Architectural Digest. June 1993. p 37

Figure 42 - image courtesy of Jawitz Estate Agents
Figure 43 - image courtesy of Jawitz Estate Agents
Figure 44 - Architecture SA, November + December 1996, pg 21
Figure 45 - Lantern, May 1990, page 77
Figure 46 - Lantern, May 1990, page 65
Figure 47 - image taken by author (27/01/2012)
Figure 48 - image taken by author (27/01/2012)
Figure 49 - image taken by author (27/01/2012)
Figure 50 - image taken by author (27/01/2012)
Figure 51 - image taken by author (27/01/2012)
Figure 52 - image taken by author (27/01/2012)
Figure 53 - image taken by author (27/01/2012)
Figure 54 - image taken by author (27/01/2012)
Figure 55 - Architecture SA, November + December 1996, pg 22
Figure 56 - goggleearth.com (accessed 12/03/2012)
Figure 57 - Msundusi Museum pamphlet (25/04/2012)
Figure 58 - image taken by author (25/04/2012)
Figure 59 - image taken by author (25/04/2012)
Figure 60 - image taken by author (25/04/2012)
Figure 61 - image taken by author (25/04/2012)
Figure 62 - image taken by author (25/04/2012)
Figure 63 - image taken by author (25/04/2012)
Figure 64 - image taken by author (25/04/2012)
Figure 65 - image taken by author (25/04/2012)
Figure 66 - image taken by author (25/04/2012)
Figure 67 - image taken by author (25/04/2012)
Figure 68 - image taken by author (25/04/2012)
Figure 69 - image taken by author (25/04/2012)
Figure 70 - image taken by author (25/04/2012)

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Figure 71 - image taken by author (25/04/2012)
Figure 72 - image taken by author (25/04/2012)
Figure 73 - image taken by Riana Mullder
Figure 74 - image taken by Riana Mullder
Figure 75 - image taken by author (25/04/2012)

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