The mural was designed in collaboration with 26’10 Architects, a building which they designed at the Rahima Moosa Mother and Child Hospital. The view from the building for which the ceramic mural is designed looks upon a landscape which is very representative of the essence of Johannesburg. The view shows a landscape of strata - the almost subterranean layer, the mine dump layer, the layer of buildings, the layer of the natural ridge, the layer of the electrical wire infrastructure, and the layer of the sky. The mural seeks to depict these layers, and see the buildings as similar to minerals floating within and outside of these layers. In essence, a depiction of the landscape which is viewed from the facade of the building, is represented by a mural made of ceramic tiles, which in turn adorns the facade of the building.
Conceptual sketch
View from terrace of building
View interpreted as drawing overlayed on building facade
Main facade. Photograph : Dave Southwood
Ground floor tiling panel
Top left of building
The project was curated by Parts&Labour on a building designed by Paragon Architects. Counterspace assisted me with graphic conceptualization. The brief from the developer of the building was to create an artwork which would encourage people to use the stair frequently, so that the may be ‘scooped’ from the level of the street and engage with the piazza. Further to this, the request from the client was to create an artwork which would introduce colour to an environment which was largely composed of grey tones. A reference to the tradition of ‘Ndebele’ pattern making was also encouraged. In response to this, I considered the idea to create an artwork which would refer to the architecture of the precinct in which the staircase exists. As such, he looked at the overall form of the building so as to derive a motif which could generate a pattern composed of ‘arrow-like’ shapes. These shapes, whilst referring to the form of the building, would also act as arrows, directional devices encouraging movement up and down the stair. A palette of primary colours on a bed of ‘white canvas’ tiles was selected, so as to meet with the requirement of the introduction of vibrant hues.
Spatially, the artwork takes an interesting position with regard to the notion of context. Rather than an imposed object in the space, the artwork is the space itself. From across the road, when viewed in pure elevation, the artwork presents itself as a rather flat image. The graphic is experienced exactly as it was designed in 2 dimensions. As one approaches, the artwork starts to loosen and humanize itself in a way, as the canvas seems to tilt with the changing field of view. As one reaches the piazza level, the pattern continues upon the sweeping curved steps, disaggregating as the stairs pull away from each other. From above, the main section of the stair is experienced quite differently. The view of the risers is interrupted by the treads, and the pattern is fragmented. This change in experience from pure 2-dimensional image to fragmented pattern is a carefully considered narrative, engaging the spatial dynamics of the context, so as to create an artwork which participates with its context. In essence, a motif derived from the form of the building creates a series of ‘stepping stones’ which elevate one to the heart of the precinct, the urban piazza.
Concept diagram showing building form as motif generator
Conceptual elevation drawing
Conceptual perspective drawing
Conceptual perspective drawing by Counterspace
Street elevation. Photograph : Dharmaratna Saraswati
Foot of stairs. Photograph : Dharmaratna Saraswati.
View from piazza. Photograph : Dharmaratna Saraswati.
Stair culminates in piazza with tiles sweeping on curved stair
Piazza tiles
The surface artwork is integrated with the development of the third tower which incorporates the restaurant and associated amenities of the Ellipse Waterfall project (Waterfall City, Midrand, Johannesburg) designed by dhk Architects. The site is an open piazza, a forecourt to the tower. The piazza is delineated by banks of landscaping created by GREENinc Landscape + Urbanism.
Named the 'Patterned Landscape', the artwork celebrates the public space at various scales—urban, architectural, landscape, and detail. The tiled artwork seamlessly integrates these elements into one cohesive design. It is made up of custom-designed terrazzo tiles and concrete seats, responding directly to the architectural language of the building. The artwork takes into account the prominence of the piazza and its visibility from the upper levels of the tower, taking a pedestrian-friendly approach. The sloping nature of the piazza was considered, with the artwork's pattern designed to reveal itself gradually as pedestrians ascend towards the tower's entrance, akin to a gentle ramp. By referring directly to the elliptical geometry of the building, and in particular its form in plan, the geometric language of the pattern is directly linked to the architectural identity of the building. The surface artwork is a directional device, guiding the pedestrian from the mouth of the piazza to the entrance of the building. The pattern of the surface artwork is at its densest at the mouth of the piazza and opens up as it approaches the building. At a certain point in the piazza, the directional focus of the space changes. The pattern of the surface artwork is balanced between positive and negative space at this point, marking this change.
Acknowledging the regional context, inspiration was drawn from the natural landscape of the Highveld, reflecting its historical and present significance amidst Midrand's built environment, honouring its essence and atmosphere. This reference is particularly evident in the design of the concrete seats. A space for a tree was made at the edge of each seat, creating an environment within the overall environment. The seats allow for the users of the space to feel part of it, and to view the piazza and artwork in a moment of pause. This consideration encourages the user of the space to understand the concept behind the surface artwork, as well as the relationship between the artwork, planted landscaping and building. Line drawings made of mild steel are embedded in the curved facade of the seats. The drawings are an abstract representation of the typical Highveld landscape of which the site is a part. The pattern of the shadow cast by the leaves of the trees brings a geometric layer which speaks to the elliptical pattern of the tiles.
Project team
Artist assistants:Kamal Ranchod Architect, Ilaena Napier Architect and Rafiq Architect)
Architects : dhk Architects
Landscape architects : GREENinc Landscape + Urbanism
Project manager: Tricolt
Main contractor: Barrow
Tile manufacture: Union Tiles
Tiling installation: B Ehlers Tiling and Modernisation cc
Seat manufacture: Wolkberg
Photographer: Paris Brummer
Conceptual diagram showing allusion to Highveld landscape
Conceptual diagram showing reference to geometry of the building
Initial concept design sketch
Conceptual sketch showing stair condition
Conceptual 3D visualisation
Plan of the piazza
3D diagram of the space
Conceptual diagram showing seat concept and allusion to Highveld landscape
Conceptual showing seat an tree environment
Conceptual sketch showing tree and seat environment
3D visualisation showing tree and seat environment
3D visualisation showing seat design
Aerial view
Seats at approach to the entrance of the building
View showing the relationship between the geometry of the surface artwork and the building
The scale of the design is pedestrian-friendly
The approach to the entrance of the building
Tiles ‘climb’ the stairs toward the entrance of the building.
A view showing the steel drawing representing the Highveld landscape cast into the concrete of the seat
View showing the relationship of the steel drawings, tiles and shadows of the trees
The public artwork, entitled ‘Present Shapes’, is sited in Bonteheuwel. In the South African context, Bonteheuwel is one of the most socio-politically significant urban environments in the city of Cape Town. The community spirit of Bonteheuwel was referenced in the public artwork intervention by placing importance on the presence of the pedestrian in relation to the intervention. With reference to communication between the residents of Bonteheuwel, the project incorporated an art workshop with school students of the area as the key generator for the project. The social aspect of the site was of primary importance in the conceptualisation of the intervention.
The site of the artwork is Freedom Square, the civic centre of Bonteheuwel. It is located precisely in the centre of the town, and is the space to which all roads lead. Considered the jewel of the area, it is placed at the heart of the overall environment. The open square is delineated by civic buildings, some of which are commercial. The public library takes pride of place, and has a prominent platform or ‘stage’ upon which it sits. As part of the platform, there is a flight of stairs leading to a landing. Upon that landing, the iconic figure, political activist Ashley Kriel, would stand to address audiences and deliver his message during the Apartheid struggle of South Africa.
Working closely with the TERRA+ Landscape Architects, the public artwork design strategy as a layer to the landscape design. An installation made of aluminium shapes was masked onto a security screen in front of the library. The screen is a backdrop to the ‘stage’ in front of the library as well as the open square. The floor artworks on the square engage the pedestrian, whilst two painted murals by local artist, Shaunez Benting, consolidate another edge of the space. A key part of the public artwork intervention was its spatial function. The idea was to define the boundaries of the site and give depth to the space through the inclusion of colour as a counterpoint to the materials of the overall landscaping.
The catalyst for the design of the artworks was an art workshop held for the junior school students of the area. The artist considered this event as the public artwork in itself, a sort of artistic and educational performance. The library screen installation, floor artworks and murals are seen as by-products of the workshop. With Bonteheuwel having a challenging history of socio-political turbulence, the project focused on the present day outlook of the school students in terms of their spatial context. The colourful and playful nature of the artworks represents the artistic response of the school students to their environment.
The brief for the workshop spoke of the context of Bonteheuwel. Presented as aspects of ‘home’, the buildings, streets and natural elements (eg. trees) were linked to colourful shapes and shown to the students as ‘building blocks’ for a freeform collage. Although the response to context was important, it was the exercises in the principles of drawing (line, shape, proportion, composition etc) which was fundamental in the process. A second exercise saw the students trace shapes from an aerial photograph of Freedom Square. Again, brightly coloured shapes were encouraged, and each student had a wonderful interpretation of the space. The separate drawings (one per student) were gathered and placed together to form an overall image of the Bonteheuwel. The workshop was a joyous and meaningful event, and much inspiration surrounded it.
The artist then took the drawings from the workshop and used them as the basis for the design of the library screen installation and floor artworks. The first exercise, that of the colourful shape collages, was the basis for the library screen artwork design. The artist created a composition which represented a graphic summary of the artworks, incorporating the work of each student. The composition of this artwork communicates the spirit of the workshop. The library in front of which the screen artwork sits is a place of learning and socialisation. In the landscape architecture scheme, the platform or ‘stage’ in front of the library was carefully designed to give it a prominent position as a spacemaker on the site. The library screen artwork supports this notion conceptually and practically.
Landscape architects: TERRA+ Landscape Architects
Mural artist: Shaunez Benting
Photographers: Southland Photography and Bruce Sutherland
The artwork, entitled ‘Landmark’, takes the form of a cast concrete relief sculpture which represents selected iconic urban elements in the context of Tshwane City, and in particular the immediate surrounds of Loftus Park. Those urban elements are namely the suburb of Clydesdale, various distinguished schools of the area, and the Loftus Versveld stadium. The various concrete blocks vary in scale, form and position relative to the particular scale form and position of the urban elements which they represent. Importantly, it is the spatial relationship between the blocks which highlights the historical importance of the urban elements as being a significant grouping or system in the history and contemporary existence of Tshwane. By extracting these elements from the overall urban map of the city, their importance as well as the prominence of Loftus Park as a site is celebrated. Close collaboration was made with project managers Parts&Labour and manufacturers Wolkberg Casting Studios.
Concept elevation
Technical elevation
Floor layout
Overall view 1. Photo : Markus Jordaan
Overall view 3. Photo : Markus Jordaan
Seat detail. Photo : Markus Jordaan
Overall view 2. Photo : Markus Jordaan
Detail. Seats. Photo : Markus Jordaan
Seats. Photo : Markus Jordaan
The project is a collaboration with OPENCITY ARCHITECTURE URBAN DESIGN RESEARCH. Sited at a Cape Farmstead in South Africa, the project is a proposal for a tiled mural. The mural is proposed for the wall which makes a treed resting space, with a seat and a central pool. This landscaped space was designed by OPENCITY ARCHITECTURE URBAN DESIGN RESEARCH.
The idea was to interpret the typology of the Delft Plate, a cultural artifact related to the VOC, or Dutch East India Company. The emblematic graphic of the stereotypical plate was fragmented in order to create an elongated graphic in conversation with the space. The fragmentation related to the patterned shadows cast by the trees in the space.
Typical Delft plate
Fragmentation
Graphic interpretation
Graphic interpretation and design motif
Graphic interpretation and design motif
Landscaped space. Tiled plate design in pool. Mural on curved wall.
Mural pattern
3D view
3D view
3D view
The project is sited at a precinct in Parow, Cape Town. The environment has seen significant dilapidation in the last ten years and was earmarked for an urban upgrade. An arcade between Parow Train Station and the significant street of Voortrekker Road is the actual site.
The proposed artwork intervention is a series of concrete seats placed at the intersection of the arcade and cross-streets. The seats are faceted with compositions reflecting the architecture of the environment.
The intervention integrates with the landscape architecture design by TERRA+ Landscape Architects.
This piece was proposed as part of
a landscaping project at Seaforth Beach, Cape Town. The project was conceptualised in collaboration with TERRA+ Landscape Architects. The artwork is seen as a piece of ‘landscape art’ inspired by an analysis of the landscape of Seaforth beach. Three key elements of the landscape inform the artwork. They are, the sea, the rocks and the sand of the beach. The artwork is a homage to our natural environment, honouring it so as to bring awareness to the necessity to preserve it. The artwork and landscape reflect one another.
The sculpture is seen as an extension of the landscape architecture of the project. The materials used will be integrated with those used in the landscaping of the project. The ‘sea’ and ‘sand’ of the sculpture will be paved surfaces. The sculptural ‘rocks’ will be granite. Some of the granite forms will act as seats.
The paved surfaces are seen as ‘landcsape planes’ whilst the granite blocks are sculptural ‘rock-like forms’. The artwork encourages the visitor to appreciate the view of the natural environment.
The granite blocks sit upon the tiled landscape referring to sea and sand. Some of the blocks are at the height of a seat and can be sat upon. Pedestrians can walk between the blocks, as they would between the rocks on the beach.
The artwork is a landscape in itself, integrated with the landscape architecture, and the natural environment which It refers to. Social interaction is encouraged in that people can sit on the sculpture and walk through it as they interact with the space as a whole.
Landscape architects: TERRA+ Landscape Architects
Our team including Casper Lundie of BIRU and Andrew Brose of MASS Design Group was selected as one of three winners in the Social Impact Art Prize, an initiative of the Rupert Museum. Directed by Hanneli Rupert and Roelof van Wyk , the competition saw 6 projects being developed as finalists over the the months between late 2019 and early 2020. The other finalists were : 'A Seat At The Table' (Kasthuri Naidoo and Ayesha Mukadam) 'Mirage' by (Studio August) 'Revealing The City' (Kim Lieberman, Paragon Group) 'Tears Become Rain' (awarded project - David Brits and Raiven Hansmann) 'Wolk' (awarded project-Pierre Swanepoel and Gustav Praekelt)
Our project proposed a work of landscape architecture in the form of a garden space and pavilion in Graaff-Reinet. The proposed project looks at the relationship between people and the natural and urban landscape of the town.
There is an existing cultural practice of the use of medicinal plants in certain communities of the formal town and related informal settlements. The base of knowledge associated with the practice is dwindling, affecting the prevalence of the use of the plants. Our ongoing project seeks to address this in the creation of a garden sited in the town. Named 'The Good Garden'.
A workshop is proposed to engage members of the community in gathering forgotten knowledge, consolidating existing knowledge, and researching to uncover future knowledge regarding the plants. With the workshop as the catalyst, the establishment of the garden can take place. This would represent a step toward reinstating the culture of the use of medicinal plants in the area.
The proposed garden is located at Market Square, a space of historical significance in terms of trade and transfer of knowledge. The square has been earmarked for upgrade by the government, and we hope that the garden will act as catalyst for this development. There is potential for the garden to have satellite equivalents in neighboring Karoo towns, acknowledging the culture practice as a regional phenomenon.
landscape
conceptual narrative
plant landscape
site : urban
community workshop
community engagement
site relationship
plan of intervention
sewction of intervention
overall view
detail view
valley of desolation
valley of desolation sketching
sky and tree
exhibition view
exhibition view
exhibition view
Casper Lundie, Andrew Brose, Lorenzo Nassimbeni
award ceremony