The task was to convert a man cave into a house. Previously, this house in Cape Town had a very poky undercroft, filled with masculine motorcar memorabilia. We were asked by the Handspring Puppet Company to make a one bedroom house for Siphokazi Mpofu, also a puppeteer.

 

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The sunny, northern face of the house was changed to a deeply corrugated facade. The vertical windows between the splayed reveals can be closed with bright coloured shutters, which provide privacy, security and ventilation.

 

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The living-dining-kitchen space has a large window, flanged by two reveals that mark the space for a custom made couch. The couch is designed to face into the room and allow one to recline and look out of the house. In the centre of the living space is a cantilevered table with a yellow, tubular support structure.

 

African Mobilities, curated by Dr Mpho Matsipa, is a collaboration between the Architekturmuseum der TU München in the Pinakothek der Moderne and the University of the Witwatersrand (South Africa). The initiative is supported by the German Federal Cultural Foundation. The project was produced with the support of the Goethe Institute, which will also be involved in the upcoming tour of the exhibition on the African continent.

 

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The design is a playful distortion of a very rational gallery space – the three halls of the Pinakotek de Moderne in Munich. The design evolved out of an intense process of model-making, that played with the intersections of circles, folds, gradations of light, colour and geometry. The result was a constellation of sculptural moments throughout the exhibition.

 

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One concern that motivated the overall design was to radically delay the visitor experience of the exhibition. For this reason Wolff provided furniture, soft seating and a reading space looking out into a garden.

 

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  Photograph by Laura Trumpp

 

The first room is an immersive environment that disrupts the visitor’s visual senses by cutting out natural light and painting the room black. In one area, Mad Horse City (2018) – the virtual reality work of Olalekan Jeyifous and Olawale Lawal is juxtaposed with Sammy Baloji’s Essay on Urban Planning (2013) as anchors for the three themes of cartographies of migration and extraction, prototypes and future imaginaries (dystopia/utopias). These works are located in a gently lit, curved space that is draped in black muslin. Comfortable seating and soft carpeting are introduced in order to provide a sensual experience of both virtual and real experience.

 

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 Photograph by Laura Trumpp

 

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The second room is anchored by the Chimurenga Library. This light-filled space forms the social heart of the exhibition with views out to the garden, where visitors are encouraged to engage with the alternative approaches to knowledge production, building technologies and urban infrastructures. The circular geometries, folded planes and layers of light and colour gives depth to the space.

 

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In the final room, Merkato, by Emanuel Admassu, a specially commissioned tapestry that maps trade patterns in the main market in Addis Ababa, is mounted against one of the two freestanding pavilions in the space. The work of Doreen Adengo is presented in the same pavilion, the design of which references the kitenge shops in Kampala and the mobility of Congolese traders and their wares in that region. The second pavilion in the room is designed to foreground the sound, text and graphic collaborative piece, Carthographic Entanglements, by Dana Whabira, Nolan Oswald Dennis and Thembinkosi Goniwe. The pavilion creates space for listening and echoes the seating configuration of trains, since the key focus of the piece is to map the entanglement between railway infrastructure, music and urban development.

 

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 Photograph by Lindsey Appolis

 

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 Photograph by Lindsey Appolis

 

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Photograph by Lindsey Appolis

 

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 Photograph by Lindsey Appolis

 

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pumflet: Donke Veby, was created to accompany the lecture performance ‘vi die wat wil wiet/for those who need knowing’, by Ilze Wolff, for Season 4 of the Centre for the Less Good Idea, 2018. It features much of the imagery from this performance and correspondence, particularly with Joburg-based researcher Amie Soudien.

Click here for more information about the performance.

 

Click to view the lecture performance with sound designed in collaboration with composer Cara Stacey.

 

 

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Performance at the Centre for the Less Good Idea, Johannesburg

Photo credit: Centre for the Less Good Idea

 

 

 

 

 

Towards the middle of 2017, Wolff Architects submitted a concept proposal for the Venice Architecture Biennale 2018. Our submission formed part of a formal tender process to the Department of Arts and Culture. To date we have not heard anything from the DAC on whether our proposal has been successful or unsuccessful. We learnt from a City Press article, that the DAC had decided not to award any tender and that the South African Pavilion in Venice, for which the South African public pays taxes towards its maintenance, would be standing empty for 2018.

 

Dissatisfied with the lack of engagement and care, we decided to host an open call and exhibition at our office, 136 Buitengracht Street, Cape Town on 17 May 2018, a few days before the official opening of the Architecture Biennale in Venice.

 

Our Venice 2018 proposal, in short, proposed commissioning photographers to submit an image of an oppressive space, psychologically or spatially, with the idea that their images would be printed out in extreme miniature (2cm x 2cm) the size of an Instagram thumbnail. Upon entering the pavilion it would appear that there is nothing on the walls – you would notice the diminutive captures only upon closer inspection. In contrast, the space at the end of the room would be occupied by a specially chosen image that would ask the audience to imagine alternatives.

 

See more images of the event here.

 

 

Chalwyn Thomas’s presentation on the construction of the Rondehuis.

 

Zuna Thomas reciting a poem she wrote in khoekhoegowad of the Nama.

 

Installation of the exhibition with chair to view.

 

 

 

 

The problem of the twentieth century is the problem of the color-line—the relation of the darker to the lighter races of men in Asia and Africa, in America and the islands of the sea”

W.E.B Du Bois  in “Of the Dawn of Freedom” (from the Souls of Black Folk,1903).

 

In the twenty first century many will argue that  W.E.B’s  quote is still  very much relevant ,others may say it is all in the past and will not happen in the future. Must we let go of bygones already, does the past not affect our present day realities? Is closure the only way we can move forward?

 

pumflet ‘luxurama’ was commissioned by The Institute for Creative Arts (ICA) as part of the  Live Art Festival 2018 . ”This interdisciplinary festival is designed to challenge and extend the public’s experience of live art ,in a non-commercial environment and make accessible the work of visual and performing artists who explore new forms, confront audiences and experiment with perceptions”.

 

To help on the journey of creation/closure we asked ourselves these questions; could one hold a funeral for a building? And if one could, what would it look like? What would it sound like?

 

We staged a funeral for the Luxurama Theatre, the once-iconic cultural institution in the heart of Wynberg, Cape Town. The building was where international acts such as Percy Sledge, Eartha Kitt, and Dusty Springfield performed and was the home of local giants such as Taliep Pietersen, Zayn Adams, and Winston Mankunku Ngozi. Under apartheid’s weird separate amenities laws, it was the only place that could host shows for ‘mixed’ audiences. Today, the Lux is vacant and in disrepair, just like the many unsung freedom fighters and activists who once ,under the banner of the UDF used the Lux as a safe space for political underground meetings; on ways  towards freedom. The mosque across the road  from the Lux has bought the building and they are renovating it for use as an Islamic school.

 

After the tour, we were led down Park Road by a funeral procession band made up of musicians from the Winston Mankunku Jazz Foundation led by Thulisile Ngozi, the brother of Winston Mankuku, who started this foundation in honour of Winston, and since Yakhal’inkomo debuted in 1968 at the Lux, it made sense for Mankunku to be present at the funeral of the theatre building, through his music. The Ngozi family were themselves victims of forced removals, having been moved from Retreat to Gugulethu in the early 70s.

 

As with all funerals, we convened for tea, chatter and samoosas at Cosy Corner Take Aways at the end of Park Road, where the procession ended with a performance of Yakhal’inkomo, arranged specially by Thulisile.

 

See more images of the event here.

 

 

 

Visitors on a guided tour/Memorial service of the interior of the Luxurama theatre.

 

 

 

 

 

Members of the community and ICA audiences came to witness the procession down Park Road in Wynberg.

 

 

 

Themba Ngwenya former boxer and principal, has now dedicated his life to teaching and making music.

 

 

 

The After Tears convening at Cosy Corner.
All photos by Barry Christianson.

 

 

 

 

 

pumflet ‘gladiolus’ documents the conversation between ourselves and artist Kemang Wa Lehulere, about Luyolo, the black neighbourhood in Simonstown that was completely demolished in 1964 and from where most of the residents were moved to Gugulethu; and about Redhill, a black neighbourhood where people were moved to Ocean View and of which ruins still remain today. During our research about Luyolo and Redhill we looked at the paintings of Gladys Mgudlandlu, an artist from Gugulethu and the writings of Gladys Thomas, a poet living in Ocean View, in an attempt to find visual and literary links to these historic and contemporary sites of forced removal.

 

‘gladiolus’ documents our speculations on Mgudlandlu’s depictions of Cape Town’s built environment of the 1960s and also our discussions with the poet Thomas from her Ocean View home. Through the documentation we meditate on the way these sites were linked through landscapes, creativity and the social imagination.

pumflet ‘gladiolus’ was shared at the A4 Arts Foundation and at Adderley Street Flower Market in Cape Town. Gladys Thomas’ creative writing archive was also on view at A4 Arts Foundation. The video piece ‘Homeless song 5’ was screened, followed by a discussion. Click here and here for more information and images.

 

 

Photo by Heeten Bhagat

 

Photo by Kyle Morland

 

Photo by Heeten Bhagat

 

Photo by Heeten Bhagat

 

Photo by Heeten Bhagat

 

Photo by Heeten Bhagat

 

Pumflet for sale at the Adderley Flower Market

 

 

This project involved the addition of two separate artist studios to the house of Maja and Gerhard Marx. The studios are added onto an existing house to create a new court between the studios. This court is an extension of the living spaces of the house. Formally, it is a bent space which curves from the kitchen, past the living room and studios and terminates in a break and outdoor oven. The oven is made as a half-size building and forms the visual termination of the living space.

 

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The studios were shaped in response to the process of making art; while working there is a continual movement of the artists around the art and away from the art. It was important to the artists that the walls of their studio have a sufficient size for large scale work and that the character of the walls should be similar to those of the galleries where their works are displayed. The section was generated in response to these demands; a butterfly section allowed for the biggest walls to be at the ends of the rectilinear space and equally allows the artists to step far away from their work and be able to see the full work.

 

 

 

 

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Wolff Architects were also the builders of the project. The opportunity of being both makers and designers was seized by making patterns in the brickwork that had reflected the work of the artists; Maja’s work is often striated and hence the linear brickwork patterns, Gerhard’s work often involves collages of fragments of paper and hence we retained the remnants of the existing structure and we “collaged” the new brickwork onto the old fragments.

 

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The work that Wolff Architects have undertaken at the Vredenburg Hospital is a major addition to an existing provincial hospital. The existing building contained several wards and significantly, the public entrance. The new extension contains the paediatric ward, theatres, support services (kitchen, workshops, laundry, etc), psychiatric ward and the administration offices.

 












Administration building

The administration building is entered on the upper floor, via a bridge, over the ring road. From the upper level one can descend to the lower level of offices which face onto a garden. The triangular garden has one open side which faces the town centre. A low wall removes the middle ground from the town view which in turn is bound by two fire escapes ascending to the upper floor.

 



Site order

A ring road was introduced to order activities and open space on the site. This ordering device was used to move the hospital campus from a sub-urban arrangement to a more urban arrangement. Buildings could be placed on either side of this road and a series of defined outdoor spaces could be made with views to the distant mountains. Through terracing of the outdoor spaces, the hilltop location of the site is exaggerated.

 

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The architectural project focussed on two primary objectives; a naturally lit interior and the development of a super-form and a sub-form.

 

Naturally lit interiors

To have the interior of a hospital naturally lit sounds simple enough, but it is often only partially achieved. Conventionally, the demand for deep floor plans and ceiling based MEP services mean that the floor plates of a hospital are overshadowed by a layer of services which is impenetrable to light. Light is usually admitted from the facade into the wards which leaves the depth of the plan, where the staff are often located, artificially lit. Often, primary service runs are located in the ceilings above corridors and therefore they are devoid of natural light.

 

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In this design, all habitable spaces are located on the upper floor, and therefore the opportunity existed to have the entire floor plate naturally lit. This was achieved through “combing” the MEP services into a pattern that would allow light to enter between service runs. A primary service corridor was developed on top of a line of service rooms (ablutions, storerooms, sluice rooms, etc) and adjacent to the primary circulation corridor. This move allowed the corridors to be naturally lit whilst having an easily accessible service corridor. From the service corridor, the MEP services branch off perpendicularly which allows roof lights to be located parallel to the service runs.

The roof lights were designed to separate light and heat. The roof lights have reflective baffles inside them which allows direct sunlight through in winter, but only reflected light in summer. The outer layer of glass encloses a ventilated void which allows heat to escape.

The design of the roof lights allow the hospital to have a 80% daylight autonomy.
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Super-form and sub-form

The architecture of hospitals is often overpowered by technical and functional demands. To make matters worse, changes to the fabric and the services over time, systematically removes any architectural quality from the original building by attrition. To allow for adjustment over time, the additions to the Vredenburg Hospital were designed as two autonomous architectural systems: a super-form and a sub-form. The super-form is the physical framework which sets up primary relationships with the city, the outdoor spatial system, with light and the large scale circulation through the building. The super-form is the most permanent part of the building and in this case is achieved through a normative construction system, The sub-form is the plethora of cellular rooms, all of which could be changed without any substantial effect on the super-form.

 

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In this hospital, the super-form takes the form of an autonomous roof. Substantial inspiration was drawn from the way sub-urban shopping malls are constructed; a single roofing system over the entire plan with the only fixes being the points, where light enters the plan. The plan form becomes changeable but the quality and pattern of light are non-negotiable. The roof is shaped as a series of undulating bays, the size of which corresponds with a typical ward width. The roof lights are in the centre of each bay. When primary access doors are located under the roof light and service doors are located away from the primary light points then spaces with multiple doors become much more readable; the roof establishes a plan order below it. The normative construction system achieves lower construction costs and in its repetition makes for a consistent manner in which MEP services are located within the plan and the section of the roof.

 

The super-form establishes a consistent architectural language over the entire plan; the surgeons have the same space as the cleaners. This consistent architectural treatment is fundamental in a society where the unequal treatment of people has been entrenched over centuries and architecture been deeply complicit in maintaining such inequality.
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On 30 March 2017, pumflet: art, architecture and stuff distributed its second edition called pumflet  ‘gaiety’.  ‘Gaiety’ published the recollections of Wilfred Damon, ex-resident of Die Vlakte, a site of apartheid forced removals in Stellenbosch. Wilfred’s memories focused on the Gaiety Cinema, the bioscope designated for racialised persons of colour. The intervention included a public tour of the demolished neighbourhood and a screening of La Boheme at the site where the Gaiety once stood, today a commercial complex and a pizza eatery. The Gaiety Bioscope stood in Andringa Street in an area that was known as Die Vlakte in Stellenbosch. Die Vlakte was demolished between 1960 and 1970 as part of apartheid’s project of separate development and forced removals of racialised people of colour from the centre of Stellenbosch. Wilfred recalls particularly two stories. The one occurred during the earthquake of 1969, where the film, a typical Hollywood action flick of the late 1960s, was interrupted because of the effect of the tremor. At that moment, he writes, fantasy and reality was confused. Patrons ran out of the cinema feeling as if stepping out of the cinema meant stepping inside a real life extraordinary drama of the earthquake and its after effects. The second story that Wilfred writes about concerns the Plaza Bioscope, the cinema that was designated for white patrons during apartheid. Back then, films would first be screened at the Plaza, then a week or two later, the same films would be screened at the Gaiety, a cinema for non-white people. He was thrilled to see that the opera, La Bohème was advertised and therefore due to be screened at the Gaiety too. However, he soon realised that those who were in control of choosing the film screenings had no intention of showing La Bohème at Gaiety.  Insulted and disappointed, Wilfred decided to break the law and planned, together with his good friend, Leonard Biscombe, the projectionist at the Plaza, to pretend to be his assistant and in that way watch Puccini’s famous opera.

 

The legacy and brutality of forced removals have left deep scars in the fabric of the city. Narratives of trauma have dealt with the issues around dislocation, belonging and return. Ideas about home is a key theme in many of the narratives. But how is imagery of the social imagination remembered and dwelled upon?

 

pumflet ‘gaiety’ is a publication of Wilfred’s recollections of both events: the earthquake interrupted screening at Gaiety Bioscope and the non-screening of La Bohème.

 

See more images of the event here.

 

 

 

 

 

 

 

All photos by Chaze Matakala.