Pro Landscaper Africa June Issue

JUNE 2020 - UNIVERSITY & INSTITUTION

It’s Your World.

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LEADER

Welcome to the June issue of Pro Landscaper Africa

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Follow us on Instagram @prolandscaperafrica Swing by our Facebook Page @Pro Landscaper Africa Download our Pro Landscaper app

outh Month is an important one for South African's, giving us the opportunity to be reminded of the strength of young people in our country who were, in the late 1970’s, at the forefront of our struggle. It also allows us to take stock of the strides we have made in addressing issues facing our youth!

We also have some fantastic features, journals and even some insight into how to photograph your garden design.

For Pro Landscaper Africa, this issue marks the launch of our 3rd annual Faces of the Future Campaign (FOTF), designed to highlight and applaud the youth making waves within our industry. The issue also looks at University and Institutional projects around the country (and abroad). Some projects are yet to be built and others have already earned their designer’s awards.

Published by

Please get in touch with regards to our FOTF Campaign and find out how you can enter.

Enjoy the Read.

Publications

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CONTENTS

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7 Changing Times & Educating our Future Landscape Architects by Christine Price

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14 PORTFOLIOS 34

SPU’s Student Resource Centre

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University of Mpumalanga: Mbombela Campus Student Residence, Wellness Centre and Multipurpose Hall

FEATURES

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Javett Art Centre: A Work of Art

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University of Cape Town Avenue Road Student Residence With design perspective from Jakupa Architects and Urban Designers and cndv landscape architects

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!Khwa ttu San Heritage Centre

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Limpopo Youth Hostel: Rural Reinvention

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There is a Photographer in the Garden by Heidi Bertish

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Science Research Facility - University of Mpumalanga

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Launching of the 2020 Faces of the Future Campaign

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A Catch up with our 2019 Winner of Faces of the Future Lesego Bantsheng

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Landscape Architects Journal City of Sweet Waters: Re-introducing the city of Cape Town’s ancient water system

by Nabeelah Kader Hashim

083 626 4529 | 072 391 2055 sungro@speednet.co.za

NURTURE 60

Designing Interactions in the Landscape

by Dirk Smit

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Site Visit: Du Prins Wholesale Nursery

“We do landscaping, irrigation and site rehabilitation. We also do grassing and irrigation of sport fields. We have our own wholesale groundcover nursery and can supply plants and garden pebbles at very reasonable prices.”

IT’S A NEW DAWN Save the date

5TH MARCH 2021

F E AT U R E

CHANGING TIMES A N D E D U C AT I N G OUR FUTURE

landscape architects

Landscape architecture students participating in an Urban design-led urban studio public space co-design workshop

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s June is Youth Month, it felt appropriate to reflect on landscape architecture education, particularly around the changes I have observed in the last few years. Sometimes it feels as though I was at university just the other day, although if I think back to when I was in first year, I remember saving my essays to a stiffy disk. A 32MB flashdrive was exciting technology and Instagram was half a decade away from being invented… yikes! Somehow in the time between when I was a student and when I started lecturing, education had changed. For me, the most noticeable difference was the shift from classes based around the lecturer disseminating their wisdom to students, to a student-centred approach where the lecturer plays the role of facilitator or (my favourite) designer-of-learning-environments to a group of students whose experiences and insights play an important role in the production of knowledge in the classroom.

highlighting exciting possibilities for the future of education and is challenging lecturers to creatively reimagine what learning looks like in the 21st century.

Pandemics aside, education in South Africa has been a particularly dynamic space in recent years.

The #FeesMustFall and Decolonising Education movements from 2015 to 2017 shook higher education awake to issues that had been lying dormant for decades. These movements left a legacy of challenging the status quo and critiquing the dominant view’s right to define who is on the margins. Lecturers across South Africa continue to redesign learning within diverse, Global South contexts. I have had to confront my position of privilege and my own teaching practices that may exclude diverse views. These shifts have prompted other changes in my thinking around education. I used to imagine that there were certain ‘criteria’ that a student needed to have in If I had written this article in January, I would order to become a landscape architect, but I no have said that design studios have not changed longer believe this to be true. As Auguste Gusteau significantly in the last 50 years. But sitting in my in Pixar’s Ratatouille exclaimed: “Anyone can cook!” working-at-home office (aka my dining room), after (and be a landscape architect). I have begun to a morning of Zoom studio sessions and WhatsApp think about this process of anyone becoming a video crits, I would say even the studio classroom landscape architect. Students inherently come is not untouched by change. The developments to landscape architectural education from a in education are what makes it so exciting and variety of backgrounds and bring with them rich dynamic and why I have remained in the education experiences and diverse knowledge. Instead of sector longer than I think I had ever anticipated. trying to categorise students’ prior knowledge Even the current urgent shift to remote teaching is into categories of (ir)relevance, what if all their

previous experiences are valuable and valued?

I imagine landscape architecture as a Jackson Pollock painting and students as multi-coloured paints that have their own paths and trajectories and lead them to splashing onto the canvas of landscape architecture painting. As they engage, question and learn, they add new layers of paint to the artwork, thereby transforming it. Some of the students I taught at CPUT had begun their studies in different fields such as nursing, dental technology or civil engineering before changing their focus of study to landscape architecture.

These different perspectives added to the diversity and richness of the class. Although I have not been at UCT for long, I have already seen evidence of the success of drawing in students from undergraduate degrees such as fine arts, EGS and Engineering. The students I work with have the agency and potential to realise change in education and transform our profession and practice. Bringing different ways of thinking to landscape architectural education makes it richer and ultimately makes the profession more resilient.

Christine Price Professional landscape architect and lecturer in the landscape architecture programme at UCT

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LANDSCAPE ARCHITECTS JOURNAL:

City of Sweet Waters:

Re-introducing the city of Cape Town’s ancient water system by revealing spatial memory

Nabeelah Kader Hashim

Introduction The City of Cape Town was once known as the Place of Sweet Waters, or ‘Camissa’ by the indigenous Khoena tribes. These ‘sweet waters’ refer to the 36 flourishing springs and four rivers that once ran unimpeded through pre-colonial Cape Town.

This thesis draws on the range of relationships that were established between people and Cape Towns’ freshwater systems at various points in its history. It was due to the openly accessible freshwater resources and fertile land that Cape Town was colonised by the Dutch East India Company in 1652. This permanent settlement developed a system of vegetable gardens and was also known for the trading of slaves. The Goringhaicona, an indigenous community that broke away from tribal life, established a trading bay at the port of Table Bay. The Goringhaicona would collect water from the upper reaches of the Camissa River (Platteklip River) and bring it to the shore or the Europeans and slaves who arrived at

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the port. This design project is inspired by these interactions with water that brought diverse people together.

This aims to reintegrate the hydrological system of indigenous streams by revealing them and the slave history that has been hidden with it.

The re-imagining of this hydrological system ties into the need to memorialise untold history that is visually missing in the city we see today.

This thesis explores ‘slowness’ as a design strategy and its link of memory and space.

The site of intervention is Riebeeck Square at the intersection of Longmarket Street and Buitengracht Street, Cape Town – one connecting to the memory of slavery and the other revealing the hidden Camissa.

A buried history The entry point into this thesis came from an interest in Cape Town’s ancient water system and how it evolved from the open water course that once ran freely from mountain to sea, to

being channelled into canals and then into the underground tunnels as they exist today.

Through the process of understanding the history of this water system another layer of history revealed itself – the history of slavery in Cape Town and its missing visual memorialisation in the public spaces of the city.

The implementation of slowness was the design strategy applied to reveal this history.

This design strategy would engage the user by introducing a meaningful experience through visual interactions with slave history and the ancient water into the city’s public spaces.

Slowness, memory and space – A design approach Slowness as a design strategy fosters spaces that evoke awareness, meaningful experiences, and a sense of accountability for daily actions.

Implementing this design strategy required an understanding of the morphology of this water system and superimposing it with significant slave history sites. The locations where these

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water tunnels would intersect with significant sites is where slowness is applied.

Applying slowness – A spatial translation After undergoing the mapping process, it was concluded that one street not only fed into these sites but also intersected all four water tunnels – Longmarket Street, which is treated as the spine of the design. The point at which the Longmarket Street axis is obstructed was identified as the site of intervention for applying the design – Riebeeck Square. Riebeeck Square is a heritage site with St. Stephen’s Church, originally one of the first theatres in Africa and then changed to a school for freed slaves, located on its edge, and is the only public open space that this water tunnel runs adjacent to.

Longmarket Street forms a connection to the memory of slavery and Buitengracht Street to the revealing of the hidden Camissa underground.

Applying slowness to the site meant peeling back the layers of Buitengracht street to reveal the water flowing through the tunnel below and

allowing it to reticulate through the site. As the water levels fluctuate it would reveal the names of slaves etched into the surfaces of these water features creating a visual exchange and allowing the site to evolve. Rainwater would also allow the site to evolve as they would fill up the sunken lawn spaces which would otherwise be used as seating areas on dry days.

The design is aimed to disrupt the user’s movement as they move across the space by obstructing movement patterns, thus engaging the user and enhancing visual connections to the installations and memorial dedicated to slave history. Imagine taking the site and shattering it, allowing hidden layers to re-surface through the cracks. This was the approach taken in developing the design language, where indigenous plant species of that space re-emerge through ‘cracks’ in the ground surface, along the raised walls and in the sunken lawn areas. Hammered steel installations are orientated towards the sun, casting shadows of figures and slave names on the surface of the space, engaging user

awareness as they move through. A performance area is central to the space too, with an outdoor amphitheatre that pays homage to the former theatre. The water features here enable water to tie all these elements together.

Conclusion Riebeeck Square holds great potential for performing its original function – a public space as designated in 1700s opposed to the parking lot that it is today. Its historical significance also enhances its ability to become one of the first public spaces in the city that acknowledges and raises the voice of this layer of history. Longmarket Street, running from Bo-Kaap to District Six, holds the potential for this type of development through integration with public spaces.

Developing this design further would start with extending a network of spaces onto Longmarket Street and visually sharing the story of buried history.

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U C T AV E N U E R O A D STUDENT RESIDENCE THE ARCHITECT’S PERSPECTIVE

By Paulo Teti, Jakupa Architects and Urban Designers

Technology and Architecture

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ne of the biggest driving factors in the evolution of architecture came as a result of the Industrial Revolution in England around 1760. This period was characterised by radical changes on many different levels. The architecture field was especially affected by the growth of heavy manufacturing industries.

The expanding output allowed for the mass production of various new ranges of affordable materials. Iron, steel and glass were suddenly produced at an accessible and continuous rate, a conveyer belt of materials waiting to be devoured by the booming construction industry.

With new materials came new options, ideas and unlimited possibilities. Architects and engineers could reinvent themselves with a new world of form, scale and function to explore. Factories adapted and evolved to meet the growing demand for new expressive forms and altered uses, which transformed technology into what we see on our streets today.

Almost three centuries later and we are reliving and experiencing a similar revolutionary moment, fuelled by contemporary materials and modern ways of construction; 3D printing, metamaterials, virtual and augmented reality. Architecture, like many industries, is facing a new rupture, one which only the societies of the future will be able to judge and experience in its full, unabridged form.

Tools and technologies have evolved at an exponential rate to help us reach our ever-growing

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objectives. Changes in technology convey changes in social structure and in the way humanity contributes to society.

technologies can be built to relate with their environment, adapting, expanding and evolving as necessary.

We have an incredible opportunity in our hands to incorporate technology in favour of a more inclusive world. One great example of such technologies is used in the new UCT Avenue Road Student Residence, my current project at Jakupa Architects and Urban Designers, where we are incorporating hearing loops (also called audio induction loops) in some of the student meeting rooms. This is a special type of sound system that uses magnetic wireless signals to improve hearing for people with hearing aid devices. The hearing loop consists of a microphone that picks up spoken words; an amplifier which processes the signal and sends it through the final piece; a loop cable. This wire is placed around the perimeter of the room and acts as an antenna to radiate the magnetic signal to the hearing aid, ultimately improving the hearing accessibility of the space.

The use of new technology in our practice provides easier access to explore our creativity as designers, but it also shows us that the industry business model can go far beyond the traditional way of dealing with projects and construction.

Not only can new technologies help create more inclusive spaces, but they can help us better understand our spaces during the design process and post-occupancy. Digital technology is allowing us, now more than ever, to create a virtuous cycle of constant improvement aligned with current, continuous feedback from users.

Computational design opens a world where architects can push new boundaries; where architecture can be created by using software algorithms; and where interactive physical

An example of this is the use of virtual reality equipment which allows clients and the professional team to experience and explore their projects during its concept and design phase. The use of such tools allows clients a viewpoint far beyond a printed 2D drawing. It gives them the opportunity to be fully immersed in the project and to get a feel for the product and vision they are paying for. Virtual reality walkthroughs will most likely become the new industry norm in the very near future. The countless technological improvements we are experiencing in a record period of time have led to large scale automation across industries. Work originally developed and carried out through human labour is now completed across various fields through the use of technology.

Technology is an amalgamation of tools we use in different ways to increase efficacy and efficiency. Even though technology has replaced and eliminated the need for some jobs, it has also sparked the creation of new ones. New positions require new skillsets completely

F E AT U R E different from what was required previously, even seemingly stagnant positions need enhanced skillsets to answer the demand. Access to information is at an all-time peak, as is the importance of staying up to date with the latest technological resources available.

Science fiction has created references to a futuristic world where mundane jobs are carried out by technology, allowing humankind time to spend on more meaningful activities. Is it possible that we are racing towards this objective?

I don’t believe that a machine will ever be a better designer than a human, but being able to use technology certainly turns a human into a better designer.

The main focus of new technologies such as computational design is not only to improve design quality; these technologies have enabled us to unlock broader design options with faster results. Technology has a tremendous influence on the architecture industry, from the office environment, to design and construction, and we must take advantage of that.

The way we interact with machines goes far beyond a simple algorithm and the speed of the design process. As architects, we must be capable of recognising and incorporating all the new technology available to us, while always exploring and improving our knowledge and lives. After all, technology and humans have never – and will never – stop evolving.

MEET THE TEAM Developer Eris Property Group Landscape architecture cndv landscape architects Architecture Jakupa Architects and Urban Designers Project management Focus Quantity surveying Malta QS Structural and civil engineering Nadeson Consulting Services Mechanical engineering and sustainability WSP Consulting Engineers Electrical engineer Ingplan Town planning Jono Trust Heritage consultant Claire Abrahamse Main contractor CSV Construction Landscape and irrigation contractor VIP Gardens

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THE LANDSCAPE ARCHITECT'S PERSPECTIVE

A Student ’s Life: Creating Outdoor Spaces for Pioneers SUPPLIERS Custom pergolas, swing seats and bicycle racks LRJ Steel – 021 556 1739 Custom steel planters Afriwire & Steel Products – 021 945 1717 Outdoor gym Gym Africa – 011 7944 1415 Floating concrete seat Wilsonstone – 021 701 7655 Concrete seating cubes Modern Concrete Works (MCW) – 021 007 0239 Paving, step and wall cappings Revelstone – 021 761 9739 Wilsonstone – 021 701 7655 Irrigation Controlled Irrigation – 021 551 0355

By Herman de Lange, director at cndv landscape architects

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tudents are pioneers, with day to day student life defined by two core aspects namely academia as a stepping-stone towards self-realisation, self-actualisation and adulthood, and juxtaposed to that, a certain newfound youthful freedom.

The primary aim with the detailed design development, by Herman de Lange from cndv landscape architects, of the communal outdoor spaces for the University of Cape Town’s new student residence building and dining hall, situated on the lower slopes of Table Mountain off Avenue Road, is to assist in shaping and encouraging both of these core aspects by creating spaces with a community feel for active and passive enjoyment, promoting interaction and critical thinking, but also encouraging introspection and contemplation.

Of key importance was the adherence to the university’s Landscape Draft Framework Plan and University Avenue Landscape Design Guidelines. The aim with the development

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of the overall Landscape Master Plan was to seamlessly integrate the site with the greater overall university urban fabric, whilst still creating a unique landscape identity for the new student residence and dining hall. The landscape design also adheres to the stringent requirements, set for a Green Star 4-star rating, with regards to functional space design, environmental considerations, ongoing maintenance, and more.

The residence communal spaces consist of three courtyards within the building, as well as a large multi-functional landscaped terrace.

The design makes provision for the courtyards to be directly accessed from a main pedestrian spine within the building with visual links towards Table Mountain in the west and the landscaped terrace and beyond to the east. The courtyards are terraced, thereby assisting with creating unique three-dimensional sub-spaces or outdoor “rooms” which allow for a variety of passive uses within each courtyard.

Raised built planters along the periphery of each of the courtyards will create a definitive lush green edge to these spaces. The planting will

be visible from within each of the ground floor dormitory rooms, thereby visually bringing nature into these rooms.

The landscaped terrace, in its design and integration into the surrounds, takes into account the development’s proximity to the historic Cadboll House and Avenue House with the shape of the terrace retaining walls allowing these grand old houses to 'breathe'. Lines of tree planting on the landscaped terrace will assist with balancing the visual scale difference between the historic buildings and the new residence building as well as act as screening between these buildings.

The various functions and activities that will be accommodated within the outdoor spaces include communal seating areas that will allow for group discussions as well as quiet shaded spaces for contemplation. Integrated amphitheatre style seating and a podium area within the courtyard containing the spill out space for the student communal lounge, will provide the platform for larger group gatherings and group discussions, as well as possible culturally driven activities.

Built seating integrated into the courtyards’ periphery built planters will add additional

F E AT U R E opportunities for relaxed conversations. Informal groupings of concrete cube seating will promote informal relaxed socialising within the courtyards as well as the landscape terrace. Low built walls were designed to be physical edges, to define spaces and also to provide formalised seating opportunities throughout the site.

A family of landscape furniture (pergolas, swing seats and bicycle racks) was custom designed to visually mimic and complement the terraced built shaping within the courtyards, thereby adding another subtle layer of interest within the landscape with regards to shape and form, as well as shadow patterning.

The large pergola with built seating on the landscaped terrace will serve as a shaded “landscape room” within the greater terrace space.

The bespoke swing seats will serve a functional purpose for small group discussions but also add an element of relaxed child-like fun within the courtyard spaces.

An outdoor gym area, contained within the landscaped terrace, will aid the students’ physical wellbeing with a sunny lawn area providing space for sun-basking and some possible ball sports.

Student and staff mobility will be catered for with the incorporation of bicycle racks in key areas. All landscape spaces will also be wheelchair accessible.

Integrated low level landscape lighting will allow for the use of these spaces at night without adding to light pollution.

Planting will consist of indigenous, hardy and low maintenance plant species with differing flowering times throughout the year. Trees have specifically been chosen and positions allocated on site to be a combination of evergreen and deciduous species, thereby encouraging students to experience seasonal changes within the landscape as an added layer.

The exterior colour palette for the building as well as the hard landscaping are toned down shades of blue-greys and greys to add a level of calmness to especially the three courtyard spaces.

All hard landscape materials have specifically been chosen to be hard-wearing, low maintenance and are all locally sourced.

Once complete, the new student residence and dining hall will hopefully assist in shaping the minds of the students as well as contribute to their health and continued wellbeing whist in their formative years at the University of Cape Town.

ABOUT cndv landscape architects

ABOUT ERIS PROPERTY GROUP

cndv landscape architects is a vibrant Cape Townbased firm committed to innovative design excellence in the fields of landscape architecture, industrial and product design.

The original firm was formed in 1988 and has a 32-year track record in the industry. cndv landscape architects remains on South Africa’s foremost design firms and is considered a specialist in the field of landscape architecture, embracing a full range of expertise and boasting a team of highly competent professional, technical and administrative staff.

Eris Property Group is a property development and services group, which provides a range of commercial property skills in the South African and sub-Saharan African markets. For over 20 years, businesses of all sizes and all industries have trusted Eris Property Group’s development team, to deliver intelligent and highly personalised commercial property solutions. From site selection, planning and design, to financing, construction management and leasing, our team of experienced associates delivers customised solutions that meet the needs of tenants and owners through every phase of the property development process.

The full spectrum of property services include: Property development, student accommodation, property management, leasing and investment brokering, facilities management, asset management, fund management, retail services, corporate real estate solutions and property valuations.

The firm has been involved in many projects in and around South Africa and abroad for both public and private clients.

It enjoys working in a team and contributing to creating better environments for people.

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THERE’S A PHOTOGRAPHER

in the Garden

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Heidi Bertish +27 82 969 3628 / @heidibertish

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arden photographer Heidi Bertish speaks to us about gardening keeping her sane, shares intel on how photographing into the light creates exciting images and other pro tips to capturing the perfect garden image.

Having a garden is a luxury and has been a joy over lockdown, keeping my sanity in check in a time where such confinement could’ve made it a close call. That being said, a potted balcony, sunny windowsill crammed with cuttings and interesting herbs, or even a mini indoor jungle would’ve done the trick equally as well. I have to confess that now, with the sudden flip-switch to winter, the kitchen counter tops are filled with a jumble of my latest seed experiments, trays of microgreens and temporary green orphans entrusted to me by friends in the hope I will resuscitate them. In my house, gardening is a constant – indoor and out.

This is my world. I am a writer, editor, and photographer of gardens. My work has appeared in local and international publications, television shows and online magazines such as House & Garden SA, House & Garden UK, Gardening Australia TV, Gardenista online and the web pages of incredible local designers.

Photography and gardens have always been a part of my life. A garden is as much a skilfully curated canvas of form, colour and pattern as it is a place of natural connection, play, inspiration and sanctuary, and I use my lens to capture this. prolandscaper.co.za

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Heidi’s top tips to achieving great garden images:

right there in the scene, sets up a great mood and directs the viewer to where you want them to look.

1. PHOTOGRAPH AT DAWN AND DUSK It’s helpful to give yourself two attempts to photograph a garden – dawn and dusk.

Photographing at these times of the day will let you capture both directions of light. Some gardens, or parts of, will be best in morning light, whilst others benefit from evening light.

5. CREATE MOVEMENT AND DEPTH Photograph as though you are revealing the garden in layers. This draws the viewer in and gives the feeling of gently moving through the image. To achieve this, include foreground, midground and background interest, and frame the visual elements so that they feel easy and balanced.

2. CAPTURE THE LIGHT Contrary to what one might think, photographing into the light creates the most exciting effect – and often magical images. I prefer avoiding complete flare, as it can distort colours. Instead, frame the image so that something just intercepts the direct sunlight from hitting the lens, such as a tree or house.

3. USE A REFLECTOR When shooting into direct sunlight and unable to block harsh rays from hitting the camera, the black reflector cover comes in handy to prevent the flare from hitting the lens. When photographing closer plant portraits, a reflector works wonders to bounce light and life into shadowy areas.

4. INVITE THE VIEWER IN Frame your image so that structural elements in a garden - such as a pathway, water rill or low retaining wall, lead the viewer into the image.

This easy technique can yields powerful results. It allows the viewer to imagine themselves

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6. PROVIDE CONTEXT Give the garden a sense of place by showing how it relates to the wider landscape. It is valuable to see how a garden connects to its surroundings. Decisions on what to include, and exclude, add to the garden narrative you’re wanting to convey. I usually start photographing these wider images first and move inwards from there.

7. WATCH OUT FOR DISTRACTING DETAILS It is very easy to become so absorbed by the subject and lighting of a scene that one is blinded to unsightly details such as garden hoses, taps, pool cleaners and even distracting leaves.

Before you start photographing, it is a good idea to walk the site and make a mental note of elements you want to avoid.

8. GET UP HIGH Take a ladder with you or ask the garden owners if you can borrow theirs, use a sturdy wall or get onto the roof if it is allowed. I’ve found it very

useful to have an elevated vantage, particularly when capturing wide images, to show the context of a garden within a larger setting or the detailed patterning of a clipped parterre from above.

9. DO YOUR HOMEWORK Get to grips with important design elements, special plants and planting combinations. Identify favourite viewpoints, the mood you’d most like to convey, and who will ultimately be viewing the images. Taking a little time to consider what you’d like to achieve will elevate the final image and enrich the viewers experience.

10. TIMING IS EVERYTHING Pinning down the best time to photograph a garden is a big one, and you want to be doing this when the garden is peaking. Knowing your plants and understanding the rhythms of the garden goes a long way to helping you in this decision. It’s a good idea to photograph shortly after a maintenance day for a perfectly primed canvas and to allow yourself a few days grace to accommodate inclement weather and clients’ schedules.

"A garden is as much a skilfully curated canvas of form, colour and pattern as it is a place of natural connection, play, inspiration and sanctuary – and I use my lens to capture this"

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"Faces of the Future is an Initiative that Pro Landscaper began 3 years ago, to highlight and promote the youth making waves within our green industry. "

FACES OF THEFUTURE 2020

F E AT U R E

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his is an exciting campaign, launched in line with Youth Month, that has grown year on year and received hundreds of entries and positive attention from firms around SA and abroad. The Faces of the Future campaign should be seen as a keen indicator of the exceptional talent of the next generation across the following sectors – landscape architecture, architecture, urban planning, landscape and build contractors, site managers, horticulturists, landscape designers, interior designers, or any profession relating to green industry at large.

The focus of the campaign is to offer young industry pioneers an opportunity to present themselves on a national platform to the firms, municipalities, and key influencers within the industry.

So, to be considered for this title, the only requirement is that candidates are 30 years of age or under as from the 1st of January 2020, and that the candidates who enter are active members of the profession, directly involved in the sectors mentioned above.

If you are an industry member who believes they are a Face of the Future, or you know someone at your firm – an employee or colleague –who might be a young industry influencer, then we want to hear from you! This is all about connecting youth to firms, supporting and promoting the professions that make up our green industry, and of course, winning great prizes too!

GET IN TOUCH TO ENTER AND WE WILL EMAIL YOU A SUBMISSIONS PACK tamsyn@paperplanepublications.co.za

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C AT C H I N G U P W I T H . . .

Lesego Bantsheng, 2 0 1 9 W I N N E R O F T H E FA C E S O F T H E F U T U R E C A M PA I G N

Q: How has your current portfolio

evolved, and what new projects have you been working on?

A: My current portfolio has

evolved in two ways. First, in my plight to become an urban designer, I have to register as a landscape architect professionally.

Professional registration has required me to take up projects more geared towards filling the gaps in my competency able. Before working for the Department of Public Works, my work experience at Newtown Landscape Architects consisted of intensive design projects. There was a lot of conceptualising, draughting, and site visits. After reassessing my timesheets, I realised I had to gain experience in the categories of professional practice and environmental management. Thus, the bulk of my work in the past year has been more of report writing than design.

In order not to lose my language as an artist and designer, I’ve embarked on personal projects, including painting, illustrations, and sculpting.

Through these mediums, I get to continue my search for the African creative expression I was so passionate about in my thesis. The work might not be landscape architectural, but it is a way for me to communicate my love for African heritage.

Q: What do you see happening within the next two years of your career?

A: In the next two years, I see myself studying

urban design part-time or wholly immersed in urban design projects. I want to continue working in the public sphere, especially as an urban designer. I believe that this route will equip me better to make the types of change I’m passionate about in society. I also see myself doing more projects with Uhuru Heritage.

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Q: What advice would you give to other young up and comers like yourself?

A: I would advise young up and comers to be

patient with the process. The journey is a reward in itself. The only competition we have is with ourselves. If one continues to better themselves, there is no failure.

Q: How has your move from Cape Town (CPT) to Johannesburg (JHB) affected you?

A: The move that affected me the most was

from Johannesburg to Cape Town. I did my undergraduate in Pretoria, which is close to JHB. JHB is familiar territory for me. Although I miss Cape Town, I understand JHB, and sometimes I feel more comfortable here. I’m closer to my support system, something I did not have in CPT.

Q: How do you see yourself positively affecting the industry?

A: My contribution to the industry will be to

broaden the scope of landscape architecture.

To achieve this, I need to be involved in the early stages of project conceptualisation.

Unfortunately, landscape architects get involved in projects at the very last minute, and the practice can be perceived as an inconvenience.

Working at the DPWI has taught me about the process of identifying work for landscape architects. The trajectory of projects I’ve been involved in has proved the benefits of being an urban designer that understands the need for greener cities. Even as an urban designer, I intend to have a significant impact on landscape architecture.

Q: Do you still have free time to work on Uhuru Heritage?

A: I make time to work on Uhuru. At this stage, the bulk of our work is research-based. We had scheduled to film a project on climate change before the lockdown. Like everyone else, we

F E AT U R E

have to be patient and figure out another time to continue. It hasn’t been easy, but my partner Nthustao Maharaswa and I are passionate about our small projects. There is still so much to do, and that excites me.

Q: What would be your ideal project to work on?

A: My ideal project would be a design

framework for rural areas and townships. It would bring me great joy to see these spaces designed as if they are for real living families.

In the design realm, we often focus on the city, therefore, numerous other places become neglected. The projects I’d like to do are not the most beautiful or high-profile projects. Instead, they are the most impactful projects tailored for the majority of the South African population.

"If one continues to better themselves, there is no failure.”

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SPU’S STUDENT

Resource Centre

PORTFOLIO

Location: Bishops Avenue, Kimberley, Northern Cape Completed for use: January 2018 Size: 6,364m2 Client: Sol Plaatje University Noteworthy: Winner of the SAIA Free State Regional Award, 2019

I

n 2014, Sol Plaatje University (SPU) opened its doors as the first new university in South Africa’s democratic era. Strategically close to the Square Kilometre Array Telescope (SKA), its initial intake of 135 students is fast expanding, to reach the expected growth of 7,500 students within its first 10 years.

With architecture by Designworkshop and landscape architecture by Insite Group, the resource centre for Sol Plaatje University is located in Kimberley’s Inner City. A progressive Urban Design Framework seamlessly incorporates existing civic, public and education stock with new purpose-built university buildings, positioning tertiary education as an integrated part of Inner City life. Perhaps it’s heart. This progressive project won a SAIA Free State Regional Award in 2019.

Designworkshop was successful in a twostage architectural competition towards conceptualising and delivering a Student Resource Centre as the functional and physical centerpiece of university life, including a library and teaching, studying and social space.

The key question Designworkshop explored was what this emerging typology could optimally be and enable in the South African reality of a globally integrated world.

Ancient images of knowledge-sharing are of people gathered around elders, thought leaders and gurus, in public spaces. Depending on where and when, this could be by the side of a river, under a tree, in a public square or on a street-side. This is learning and knowledge generation in a social setting. Within society and indistinguishable from it, learning is enabled by the practical and perceived reality of life as it’s experienced, often on a platform of traditional cultural practice.

When information was recorded in writing, the emblematic image of learning is often the quiet study table surrounded by books. This is the dissemination of accumulated knowledge, most commonly recorded outside of the direct experience and as a more linear and onedirectional transmission abstract from specific cultural settings. The ‘neutrality’ of science. prolandscaper.co.za

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The SPU Library and Resource Centre integrates both at the same time – it’s a social place where people make themselves available to wideranging incidental and planned interchange in the course of daily life, both in physical space and online, with and without books, collectively and in solitude, directed and enabled by mentors or among themselves. It is at the same time a tree, the side of a river, a public square, and a street.

Centered on a raked public forum, the ground floor is an extension of Kimberley’s pavements, paths, squares and gardens. It’s a public space sheltered from the cyclical hot and cold extremes of the arid climate. Ascending from public to private, each additional floor is another ‘public square’ accessed from its perimeter to enable three-dimensional exploration of a continuous knowledge-scape.

Solid grass-reinforced moulded mud forms typify South Africa’s interior vernacular brakdak construction. The library scales this heritage up into a 22cm thick freestanding concrete

shell, rising up to 36m high and lifted off the ground to reveal a single hollowed-out volume ascending upward to its highest point overlooking University Square.

The inverse of Kimberley’s iconic Big Hole diamond mine, the building is a distinctive sculptured object, arising from the endless horizontality like a koppie, brakdak house, or mine shaft. In a single material, concrete is structure, enclosure, climatic attenuator, flexible useenabler, extended tradition, and noble experience.

In everyday university life, the building is a refuge, a 24 hour winter lounge and summer verandah.

In a world of scarce resources, it is highly energy efficient, allowing in the right amount of natural light with significantly mitigated heat-gain or loss, the internal temperature further moderated by hot and cold water pipes embedded into concrete floors. In the city, it’s a landmark of democratic learning, social and cultural exchange, and a generator of economic potential which always comes from empowered knowledge and ideas.

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PORTFOLIO

Insite explains its involvement on Sol Plaatje University as developing the hard and soft landscape component for mainly Central Campus, and with input on the sports facilities on South Campus.

Insite also offered its design input on hard landscape construction details and the maintenance specifications that go into these spaces. The landscape brief for the precinct was to provide a comfortable outdoor living environment for students enrolled at the University. The precinct includes residences, lecture halls, office spaces, a library and study halls. The design resolution was informed by the urban design layout for Central Campus by Ludwig Hansen Urban Designers. The design was also inspired by the surrounding environmental and landscape attributes which were included in the landscape design, to celebrate the Northern Cape and surrounding Karoo landscape and cultural characteristics. The landscape design included gathering and socialising spaces as well as efficient circulation routes.

“The key question Designworkshop explored was what this emerging typology could optimally be and enable in the South African reality of a globally integrated world."

Designed hard and soft landscaped spaces were required in all areas surrounding the new buildings for the precinct. Due to the confined space available between the new buildings, functional and hardscape circulation areas dictated the design. Street furniture was introduced within the outdoor spill-out spaces and circulation routes to provide sufficient lighting during the night and comfortable seating spaces.

Functional use of the spaces was the most important design consideration due to harsh climatic conditions, limited space, storm water drainage requirements, and the need for storm water attenuation where possible.

As a part of the design procedure, Insite presented design concepts to both the client and Designworkshop for approval and for broad coordination, once all parties were in agreement prolandscaper.co.za

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MEET THE TEAM Architects: Designworkshop Landscape architects: Insite Group Project landscape architect: Neal Schoof, Ferdie Haefele Ilze du Preez, Su-Ann Burschen Landscape contractors: GreenSight Landscapes Steelwork Contractor – Mawele Metal Works

the final concept plan was created. Once tender and construction drawings were produced, extensive interaction and coordination was required with other consultants to achieve appropriate solutions responsive to the site.

Challenges included that most of the central campus is very flat, so directing stormwater flow in the landscape was important. Also, most of the campus is underlain by shallow rock which made tree placement design and planting difficult. Tree placement and the hard landscape design was also impacted by the fact that all the different building's underground services ran in the sometimes narrow pedestrian corridors.

The solutions included level adjustments, incorporation of stairs, adjustment to finishes and aesthetic coordination of services. The design process was complex and challenging

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in perpetuating the original design intent whilst simultaneously keeping the solutions cost effective, practical and available at a fast pace.

Hard landscape design included new paving, walkways, landscape lighting, benches, bollards, bins, bicycle racks and drinking fountains.

Greensight Landscapes, the landscape contractors company, received access to the site when construction was about 80% complete. The team started with site clearance and preparation, then moved on to earthworks and trenching for irrigation. Next came the installation of irrigation mainlines and lateral lines. After this, paving went in, followed by the installation of the granite and concrete products as well as irrigation.

The team was then able to start filling in topsoil and planting trees, shrubs and groundcover, and maintained it until the handover to the client.

The Southern Campus has a multitude of facilities and land uses, and in particular, will provide a number of sporting facilities for the university.

The design scope of the landscape architectural works incorporated: Soft landscape design, between the playing tennis courts and the new multipurpose sport fields (Kikuyu lawn, trees and landscape berms); irrigation design and sleeve coordination; design input and detailing of drainage systems; design input on earthworks and soil preparation.

The overall design and implementation of this project has seen the realisation of a space that is exciting, functional and a centerpiece to student life at SPU. It has rightfully garnered much attention, and we expect to see many more awards for this project in the coming year.

ABOUT INSITE LANDSCAPE ARCHITECTS Insite is a landscape architectural practice which has world class experience in creating inspirational, dynamic and authentically engaging spaces within a local and international portfolio. Insite believes that landscape design creativity adds value to any project and the team strives to implement innovative design solutions. It is a creative ideas company, passionate about landscape architecture and conservation, with the ability to deliver excellent services within the entire spectrum of landscape architecture.

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UNIVERSITY OF

Mpumalanga

MBOMBELA CAMPUS STUDENT RESIDENCE, WELLNESS CENTRE & MULTIPURPOSE HALL

PORTFOLIO

Completion Year: Phase 2 and 3 - August 2017 Full completion: December 2018 Gross Built Area: 9,624m² Location: Mbombela, Mpumalanga, South Africa

PROJECT DESCRIPTION In 2013, an architectural design competition was held by the Department of Higher Education and Training (DHET) for the establishment of two new South African universities – Sol Plaatje University (SPU) in Kimberley, and the University of Mpumalanga (UMP) in Mbombela. As one of the four architectural firms selected for the first phase of development of UMP, GAPP Architects and Urban Designers were tasked with the design of a new student residence building, including student union facilities, a health and wellness centre and a multipurpose hall.

The steeply sloped topography guided the placement and massing of the built form. Perched along a rocky outcrop, the building provides sweeping panoramic views over the city and surrounding hillside. Central to GAPP’s design was the creation of an integrated mixed-use precinct woven into the existing building fabric of the site, tied together by a public promenade that connects the campus residences and recreational facilities to the new library and administration building.

This presented an opportunity for the student residences, common rooms and student union facilities to activate the edge of the promenade. As part of the promenade route, the design includes a timber deck that winds its way through the trees.

MEET THE TEAM Architects: GAPP Architects and Urban Designers Landscape architect: Insite Group Landscape contractors: Sungro Landscaping Lighting designers: PLP Consulting Engineers Images: Tristan McLaren, GAPP Architects and Urban Designers

Within the residences, student accommodation is grouped into a series of apartments of eight bedrooms with a shared central living space, arranged around a semi private landscaped courtyard. More public facilities such as the games rooms, lecture facilities and retail areas are placed along and open up to the promenade, making the walkway an active space.

The Wellness Centre and SRC facilities are arranged to form an enclosed area around the swimming pool and recreational area.

The Multipurpose hall is both functional and ceremonial, accommodating a variety of functions including sporting events, examinations and graduation ceremonies. The single brickwork volume of the hall incorporates a continuous band of opaque glazing along its length, filling the lower level of the hall with softly diffused light.

In the evenings, this glazed strip allows the hall to radiate a lantern-like glow when events are held.

A series of sliding folding doors open up along the northern façade of the hall to connect with the external sports courts. prolandscaper.co.za

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The material palette reflects the natural colours and textures of the Mpumalanga landscape. The building has a sense of growing out of landscape with the core material being a local clay face brick. Punctured brickwork screens shield the façade against direct sunlight, allowing for cross ventilation while maintaining privacy and security.

Screens are an expressive architectural element for exploring texture and the filtering of light.

Sliding aluminium shutters enable residents to control glare and heat gain on the west façade.

Vertical fins on the shutters are designed to induce a negative-positive air pressure, channelling ventilation into and out of the rooms. Public art is also introduced along the promenade through a series of bespoke terracotta mosaic tile feature walls by a local artist.

Insite started working on the landscape conceptual design for the residences, wellness centre and multipurpose sports hall in spring 2015.

The landscape brief by the University and GAPP Architects and Urban Designers was to provide a central promenade spine through the precinct.

The remaining surrounding landscape was to be a practical balance between hard and soft landscaping and include seating and shade for students to gather under. The building precinct also includes sports facilities such as a swimming pool, netball courts and tennis courts. The landscape design was also to provide spectator seating for these facilities.

The landscape design was inspired by the program and rock of the site, as well as the vernacular of the lowveld location of the University Campus.

ELEMENTS IN LANDSCAPE ARCHITECTURE Hard landscaping design and specifications; planting design and specifications; street furniture design and specification, irrigation design and sleeve coordination and service coordination.

The central spine design resulted in Insite designing (with the Structural Engineers) a large deck promenade past the residences creating a long pedestrian and social space connective spine that links to eastern parts of the University campus. The residences also include a landscaped contemporary courtyard space with a cool microclimate between the residences for students to congregate in. The landscape design around the wellness centre focused on the practicality of a pool space as well as the continuation of the promenade passing in front of it. The landscape focus around the sports hall was a sidewalk landscape which aimed to be a continuation of the sidewalk design of the road leading up to the student residences, and spill out spaces with benches were also created.

The practical requirements of the landscape scope were to provide hard and soft landscape design, detailing an irrigation design, and in addition, to coordinate all services outside the buildings.

THE RESIDENCES The timber deck promenade is the main feature around the residences which would also accommodate the impressive existing trees in openings through the deck. Universal access was important to consider, and thus a timber ramp was incorporated as an extension of the promenade.

The promenade is not only a mobility spine but also allows students to enjoy unobstructed views of the striking Mbombela scenery from the promenade. The design of the courtyard between the residences served as a gathering and relief space for students to congregate in. The space consists of seating and shaded areas along with some lighting features. The originally planned pergola on the promenade and in the courtyard has since been omitted due to cost saving measures.

The general landscape design is quiet and robust, consistent with the landscape design language at the lower campus. The existing levels and rock on site were challenging with regard to incorporating wheel chair access ramps according to SANS requirements, whilst simultaneously contributing to the design aesthetic. The site has beautiful rocky outcrops that add the Lowveld character to the landscape, however in some instances, the rock is high lying and proved challenging for proposing trees and certain built structures. Subsoil drainage systems was a consideration due to the high lying rock, as well as alternative ways of fixing built features to the rock.

SUPPLIERS Paving bricks: Federale Stene – 013 241 2302 Concrete: Spectacular Concrete – 013 758 2040 Paving: Bosun – 011 310 1176 Lighting: Regent Lighting Solutions – 011 474 0171 Fencing: Betafence – 021 868 7300 Tennis and basketball courts: Springbok Tennis Courts – 082 455 2797 Timber deck: Zuberi Flooring – 013 752 2918 Handrails and guardrails: Duratrend – 082 494 9499 Aluminium window shutters: AluCAD Design – 013 752 4464 Trees: Tree Factor – 073 748 4460 Nurseries: MCM Nurseries – 081 759 7280 Sungro Ground Cover – 083 626 4529

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WHOLESALE NURSERY

Water Purification & Commercial Pool Specialists Adam Kriel 083 448 8283 | adam@wdigroup.co.za Herman van der Mast 082 600 0385 | herman@wdigroup.co.za www.wdigroup.co.za

Photograph by David Southwood

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PORTFOLIO

Size: 12,989m² Completed: 2019 Client: University of Pretoria Location: Hatfield and South Campus of the University of Pretoria

Opened officially on Heritage Day in 2019, the Javett-UP Art Centre at the University of Pretoria is an exciting new museum that promises to become a new “home to the art of Africa” and can be seen as Gauteng’s counterpoint to the Cape’s Zeitz Museum of Contemporary Art Africa and Norval Foundation. A partnership between the philanthropic Javett Foundation and the University of Pretoria (UP), the impressive Javett-UP is one of the largest new art museums to open in South Africa in recent years, with an exciting mandate that seeks to engage students and the public with the creativity and diversity of African art, from the ancient to the contemporary. Architecture

by Mathews + Associates Architects and Landscape Architecture by GREENinc, this project truly is its own work of art.

Pieter Mathews from Mathews + Associates Architects, a Pretoria-based architecture firm, designed this exquisite building. The Javett Art Centre at the University of Pretoria consists of a public art gallery and Mapungubwe museum linked to an open museum square which includes a restaurant and outdoor exhibition space located in a publicly accessible portion of the University’s South Campus. The gallery extends over Lynnwood road with a bridge gallery which includes a pedestrian concourse, stitching together the University’s Hatfield Campus and South Campus and touching down on a new University Arts Square positioned above a new student gallery.

J AV E T T A R T C E N T R E

A Work of Art

THE BRIDGE GALLERY STITCHING TWO CAMPUSES The Javett Art Centre at UP provides a public showcase for our national treasures, elevating art firmly into the public domain while celebrating and extending the original historic ‘Tukkielaan’ over Lynwood Road, strengthening the cultural spine of the University of Pretoria.

The pattern of the sunscreen panels on the western side of the bridge – which provides a cooling solar filter for the building – is a graphic representation of the Shweshwe cloth fabric which has been a part of South African life. This blue fabric has always been a great binding element in South Africa, proving to be very popular with people from all cultures, backgrounds and walks of life – Pedi (shweshwe), prolandscaper.co.za

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Photograph by David Southwood SUPPLIERS All Bricks and Pavers: Corobrik – 011 871 8600 Patterned Panels: S P E Engineering – 011 674 5046 Lighting: Regent Lighting Solutions – 011 474 0171 Concrete: Lafarge - 011 657 1092 Red sculpture: Edoardo Villa Nurseries: Bristlecone Nursery – 012 207 9904 Garden Magic Big Trees – 082 576 2696 Grow Wild - 082 824 6715 Monavoni – 012 668 1261 Plantworld - 082 805 0910 Random Harvest – 011 957 5354 Siyakula Nursery - 076 639 7949 Sunbird Aloes – 082 824 6604 Tshala – 071 683 1177 Stainless steel balustrades: Steel Studio - 010 040 3720 Fencing: BetaFence - 021 868 7300 Specialised steel and balustrades: Spiral Engineering - 011 474 9115

Photograph by Alet Pretorius, courtesy of the Javett Foundation Indian (printed), English and Afrikaans (sislap).

The ever-changing shadow patterns on the walls and floors reminds us of how much we all have in common. The patterned panels are made of fibre-reinforced concrete and were designed by Mathews + Associates Architects and SPE Engineering.

THE MAPUNGUBWE MOUNTAIN The second dominant feature of this complex is the Mapungubwe mountain. Juxtaposed against the bridge and located alongside Lynnwood road, the shear mass and solidity of this iconic structure will establish its dominance as a new city landmark These Mapungubwe national treasures of the golden rhino, spectre cow and leopard are housed inside this abstract architectural interpretation of the Mapungubwe hill. This solid, iconic, sculptural, vault-like structure was moulded using custom formed shuttering.

PUBLIC SPACE The complex includes two open squares: Museum Square and the Arts Square. The Museum Square is located on the southern side of Lynnwood road in front of the main entrance. A natural gathering zone, this space is directly accessible to the public, serving the restaurant and playing host to various public functions and events. The main

public entrance is located from this square.

In addition to the nine galleries, the complex also includes a 115-seat auditorium, administrative offices, storage, art conservation and quarantine areas, as well as a high-end restaurant serving the art complex while looking out over the picturesque Boys High grounds and opening up onto the centre’s main public Museum Square.

pedestrian concourse with an entrance into the gallery, thereby directly exposing the passing pedestrians to art, architecture and academic works daily. This dynamic gallery space exhibits various travelling exhibitions as well as selections of the students’ own works of art, graphics, architecture and even projects of a more academic nature from various faculties.

The Arts Square is located where the Bridge Gallery touches down on the University’s Hatfield campus, forming a raised focal culmination point along the university’s culturally historic ‘Tukkielaan‘ route. The university is well known for its sculptor alumni and it is envisaged that this square could also play host to international sculptural exhibitions and competitions. The space below the square forms a student gallery which creates a direct link between the faculties of the built environment and visual arts, thereby bringing together these two creative fields.

Mapungubwe has always had a very strong connection with the University of Pretoria – both archaeologically and even architecturally – and by providing this fitting setting for these treasures, these pieces can now be proudly displayed to the world as a celebration of Africa’s rich history. The Javett Art Centre at UP provides a valuable contribution to the university, the city, and the country, through the reactivation and unification of the university, the cultural enrichment and education of the city, and the international attraction of an uplifting national celebration of our rich African past.

WHAT IT HOUSES The Javett Art Centre at UP houses some of the finest works from the collections of the Javett Foundation Trust and the University of Pretoria, as well as various temporary special exhibitions. The southern gallery wing houses the private donor collections, including the private collection of the Javett Foundation Trust – the seed donor. The Bridge Gallery section is positioned alongside the

GREENinc, the landscape architecture company on this project, explains the main brief was initially to design a museum for the Mapungubwe Art Collection.

When the location of the museum was determined, the new development had a repercussion effect on the surrounding buildings prolandscaper.co.za

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(Visual Art building, Boukunde building and South Campus buildings) and elaborated a brief that allowed for an additional Art Gallery bridge, Arts Square, Museum Square and studio spaces.

The Lynnwood pedestrian bridge was the only link between Hatfield and South Campus and initiated an important pedestrian access between these two campuses. The impact of the Art Gallery Bridge called for a specific design proposal to incorporate the historical Tukkie Laan on the northern side of campus and to create a physical and visual link towards the southern campus. The proposed development deals with a sensitive environment considering the different users and departments that need to be integrated on both sides of the bridge.

Therefore, the importance is placed on the horizontal threshold of the bridge on the Hatfield and Southern Campus and how the surrounding fabric will connect to the threshold.

The landscape proposal was finalised after numerous redesign attempts due to the different role players of the project. The design has included items like face brick feature walls, rammed earth walls, custom-designed clay brick masonry features, succulent podium exhibition space, stainless steel vertical green cable wall, custom-designed planter boxes and a fence.

THE ICONIC PAVING More than 430,000 clay pavers were used to craft the exterior walkways, public squares,

ramps and parking area of the art centre. The textures and colours of the clay paving range are durable, colour-fast, skid-resistant and suitable for trafficked areas. The pavers were selected to create texture, with a simple layout. Only two paver variations were chosen to give a more uniform thread between the different spaces of the building. The paving links the new building with existing ones – the historical Boukunde, Visual Arts and Town and Regional buildings.

Sixty percent of the pavers were installed on a basement or slab, reducing future maintenance issues as the pavers can be easily removed and re-installed without compromising the surface.

PLANTING GREENinc strongly believes that it is important to only plant indigenous plants with new developments. Considering that any new planting introduced within the University of Pretoria will form part of the bigger Botanical Garden precinct, makes the use of endemic and indigenous planting palettes paramount.

Plants have a role to define, support and emphasise the importance of space. Qualitative landscape spaces should lead the decisionmaking process with a new project whilst the planting palette should complement the spaces.

Trees were also used to emphasise boulevards, create a sense of scale or define crafted spaces.

At the Javett Art Centre at UP, this has become evident. Spaces were crafted between the

existing and new building fabric and emphasised with a selection of indigenous planting palette that is not necessarily commercially known.

The softscaping on this project is minimal due to the challenges with weight restrictions on the slab areas and basement. The selection of planting was made in conjunction with the Botanical Garden curator, Jason Sampson. Dr Ida Breed, senior lecturer at UP’s Biodiversity Studio, Department of Architecture has also developed an 80m2 experimental biodiversity garden as part of the art centre complex with a subsequent 200m2 patch located at the Future Africa complex (Hillcrest Campus).

Wouter Labuschagne, project landscape architect explains: “As a landscape architect, I have learned a lot in terms of the spatial composition of urban space and the important role of integrating existing spaces with the proposed spaces. The value of landscape design is unlocked in these thresholds. The design is both simplistic and robust, but complex seamed together.”

He also adds that: “Being part of this project on your home turf places a lot of pressure in terms of how you will show your design to the young designers at the university.”

It certainly has been a successful project, and one we are sure we will be reading about for months to come.

MEET THE TEAM Architects: Mathews + Associates Architects Project architects: Pieter Mathews, Liam Purnell, Jannes Hattingh, Carla Spies Landscape architects: GREENinc Landscape Contractors: Servest Landscaping Lead landscape architects: Anton Comrie, Wouter Labuschagne Lighting specialists: Pamboukian Lighting

Photograph by David Southwood

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Photograph by David Southwood

Photograph by Pieter Mathews

Photograph by Pieter Mathews

Photograph by David Southwood

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! K H WA T T U SA N

Heritage Centre

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PORTFOLIO

Completed: 2019 Size: 265m2 Location: Yzerfontein, West Coast, Western Cape

In 1998, the Working Group for Indigenous Minorities in Southern Africa (WIMSA) decided to assist the San in unlocking potential tourism opportunities and showcasing the San culture to the world. WIMSA turned to Swiss anthropologist Irene Staehelin, who agreed to help. In 1999, guided by her own vision, and inspired by heritage centres in the USA and Canada, Irene bought an 850 hectare wheat farm, north of Cape Town on the West Coast of South Africa for the !Khwa ttu project. She subsequently set up the Ubuntu Foundation in Switzerland, to help guide and support the project. !Khwa ttu opened to the public in 2006.

In the following decade, inside the now restored farm buildings, it steadily developed its tourism offering and San training capabilities. Outside, the land was carefully rehabilitated and wildlife reintroduced.

In September 2016 Ubuntu committed a substantial portion of the funding needed to build !Khwa ttu’s San Heritage Centre. This paved the way to fulfilling the dreams of many, and launched the next exciting stage of !Khwa ttu’s development. This San Heritage Centre project was headed by KLG Architects, with environmental work being taken on by Vula Environmental Services.

At the outset of planning the new San Heritage Centre at !Khwa ttu, it was decided that the project should have a low ecological impact, that it should be sensitively scaled in order for it not to overshadow the natural environment and that it should serve as a backdrop for its content and allow people to converse and share relevant information within a revelatory environment.

It displays the San ‘way of life’, not like a traditional museum, but with the building conceived as an organic landscape with an emphasis on sustainable and ethical design. The undulating structure is embedded within the landscape along a granite ridge overlooking vistas towards the Atlantic Ocean, close to Yzerfontein on the West Coast.

The proposed museum had to address not only the challenge of integrating into the natural landscape but also that of incorporating natural site features into the interior as part of an exhibition. This called for an innovative approach through the use of built form, local materials and inventive construction.

Concrete was chosen as one of the principal building materials for its plasticity of form, austerity in aesthetic quality, strength, durability and economy. An undulating multilayered green roof is supported on a very thin 80mm reinforced concrete layer which works in composite action with curved steel roof beams.

I-beams are cut in half and used as the main structural members. The resulting upside-down T-sections forming the beam soffits are easily bent to the correct varying degree of roof curvatures. The top half of the beam is made up out of a steel plate, held in position by a series of vertical flat sections with gaps in-between.

This fabricated beam is much lighter than a conventional full depth beam, which would have been required if the concrete at the top was not used as a compression flange. The concrete has to be a very specific consistency in order to make the various falls of the roof possible.

A benefit of this method of concrete construction is that extra reinforcing steel can be introduced in specific zones where it is actually required. This technique allows for considerable savings in cost, material and overall roof load.

Permanent shutter boards on timber rafters are used to span between individual roof beams to form the unique curve of the roof and also acts as a ceiling internally. This dual functionality results in time and material savings on site. Indigenous self-seeding grass species are planted on top of the roof to deal with the harsh coastal climatic conditions. The green roof has thermal mass and natural thermal insulation qualities, which further assist with keeping the interior sheltered and cool during the hot summer months.

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MEET THE TEAM Architects KLG Architects Landscape contractors Vula Environmental Services Images Adam Letch - adamletch.com

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PORTFOLIO It also seamlessly integrates the building into the landscape, minimising the building’s visual footprint.

The concrete roof edge parapets are hand moulded and shaped to the various curvatures and tied back into a retaining wall. The retaining wall is built as an undulating curve set in-between granite ridges which are expressed in an unadorned manner as part of the museum interior. The wall consists of two parts – a reinforced concrete load bearing retaining wall and a cavity with an internal dry-skin of brickwork.

The museum interior is envisaged as a landscape set below an abstract roof canopy which contains information and activity. For the floor, a special Lafarge concrete mix was used to emulate the colours of the Kalahari San environment. A granite stone aggregate from a local quarry was added to the mix and the surface was ground down to a finely textured ‘salt & pepper’ finish, which delicately exposes the aggregate. The floor was cast and shaped around the exhibition floor surface.

This demonstrates the fluidity of material to adjust sensitively towards its context, ultimately translating the space into a rich and authentic expression between the natural and the built fabric.

This mitigates any possible moisture bridge between the water collected behind the wall or between the granite boulder cavities and the interior wall surface. Moisture is transferred down within the wall cavity into a sub-base of no-fines foundation pads to naturally dissipate.

Provision is made for a hydronic underfloor heating system on top of a rigid insulation layer which forms part of an ‘active’ thermal mass design approach for heat radiation during cooler winter months, whilst the inherent thermal mass of the concrete slab is also utilised as a heat sink.

The uniquely cast floor is shaped around the natural site features and celebrates rocky outcrops within the floor. This method of building displays a sensitivity and respect towards the context.

The media centre is shaped as a nonsymmetrical eclipse and has a rock store built within the tapering mass of its walls. Air is funneled through the walls from an underground

Internally, the exposed granite rocks become an integral part of an exhibition wall.

concrete plenum below the floor level. The wall cavity is divided into different chambers with transverse walls to tie the tapering masonry walls together. The wall ‘chambers’ are hand packed with local granite rocks on top of precast concrete lintels above the underground plenum.

Air is drawn up through the gaps between the lintels to cool the rocks at night. During the day, air flowing over the rocks can therefore be cooled down before being discharged at the highpoint of the wall into the media centre’s interior.

These sustainable approaches allow for a climatically stabilised internal environment while also reducing the need for conventional heating and cooling services and their associated energy demands.

The structure consciously demonstrates a balance between the context, materials and design philosophy through a combination of passive environmental strategies and contemporary technologies.

SUPPLIERS Lighting: Megalite – 021 797 8487 Concrete works: Melt-Wahl – 021 946 1334 Timber: Prinro - 022 772 2334 Concrete sealing & waterproofing: Crete Color - 021 823 0000

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L I M P O P O YO U T H H O S T E L

Rural Reinvention

PORTFOLIO Location: Polokwane, Limpopo Year completed: 2019 Size: 1,350m² Client: Pan Africa Today

L

ocal Studio is an architecture and urbanism practice based in Johannesburg, South Africa, and was founded in 2012 by Thomas Chapman, no stranger to Pro Landscaper’s pages. Thomas also presented at FutureScape Africa Trade Event in 2019. Local Studio is renowned for its diverse portfolio of built work comprising public buildings, urban design schemes and private homes. Over the past few years, Local Studio has expanded its project base to more rural areas, which brings us to this Youth Hostel. Here, we visit two modest, timber-clad dormitories, designed and built for the non-profit organisation Pan Africa Today and located in Bela Bela, about 400km north of Johannesburg in the province of Limpopo.

Pan Africa Today is a global non-profit organisation dedicated to advocacy training for youth. This project is the result of the organisation using funds to purchase a disused wedding venue, with the site including chalets and a dining hall. The brief from the client to Local Studio was to build two brand new hostel blocks that could accommodate 120 beds with communal spaces and account for extensions to the old function hall in case there was a need to cater for more people.

What is unique about this project is that it is the first by Local Studio attempting to apply its learning and experience of urban environments to this rural setting for the local community. There was one immediate common factor between urban and rural settings from the onset, and that is that a fair number of people will be using the facilities (over 200 in this case), therefore allowing the application of urban principals of public space and place-making. The only difference is the scenery in which the building exists. Here, the site is surrounded by nature rather than an urban setting of a bustling city.

"Here, a new material language has been developed which has some of the ephemerality of previous work but with more sensitivity to nature and the capacity to age more gracefully. "

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PORTFOLIO

The two hostel buildings are made up of 14 pods which can hold eight students each in bunk-beds. For privacy, each student has a screened wall with lighting elements that aid in creating a privtae space.

Each bed also has its own openable window for improved ventilation. This element creates on the façade of the building an irregular array of windows on three of the buildings. Each hostel building has a communal space on the ground floor, one being a library and the other an art centre. This creates meeting and sharing spaces where students can interact.

The materials This project is unique in that there is a departure from the usual approach to materials for this firm.

Usually, it would associate industrial materials such as steel, polycarbonate and corrugated iron with Local Studio’s aesthetic, largely based on its urban projects. Here, a new material language

has been developed which has some of the ephemerality of previous work but with more sensitivity to nature and the capacity to age more gracefully.

The building’s primary structure is a lightweight Hebel concrete block. This is the biggest loadbearing structure built using this material in South Africa and the very aesthetic cladding element is Rhino Wood, a local wax treated South African pine.

Working with local timbers in South Africa can be challenging as they are mostly too fastgrowing to be used in primary structures. In this case, the Rhino Wood was applied to the façade of the building, spaced off the Hebel surface by 200mm. This effect shades the façade, facilitating a comfortable internal temperature for the building in the hot climate of Limpopo, which, on a summers day, easily reaches 40 degrees celsius.

Off-grid is how one can describe these buildings.

Power is still partially sourced from municipal supply, however, plans are in place for a complete conversion to solar. All black water produced by the residential blocks is recycled for the irrigation of leaf vegetables which are grown onsite.

The roofs of the building are a rolling series of mono-pitches, designed specifically to mimic and blend into surrounding hills and local scenery.

Local Studio is steadily building a portfolio in developing areas. On this particular site, a communal laundry and a workshop are being planned to be built in the near future.

Local Studio is responsible for several projects that have played a part in the regeneration of downtown Johannesburg, and now, they can safely add rural settings to their long list of accomplishments in design.

SUPPLIERS Concrete block: Hebel – 086 133 3835 Timber: Rhino Wood – 084 580 6406 Flooring: Atlas Walls and flooring – 072 388 8953

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There has never been a better time to support local manufacturers

Decking | Cladding | Pergolas | Laminated Beams FUTURE-CONSCIOUS REAL WOOD PRODUCED USING TIMBER FROM SUSTAINABLE SOUTH AFRICAN FORESTS Shane Smith 084 580 6406 | shane@rhinowood.co.za | www.rhinowood.co.za | @rhino_wood

S C I E N C E R E S E A R C H FA C I L I T Y

University of Mpumalanga CHALLENGING CONVENTION

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PORTFOLIO Year Complete: 2019 Size: 8548m2 Location: University of Mpumalanga Situated on the University of Mpumalanga, Lower Campus, you will find the new and rather striking science research building. This building provides 10 large specialised teaching laboratories, a number of post-graduate and research laboratories, raked and flat teaching venues and staff office spaces. Mpumalanga is a tropical region in the eastern part of South Africa, iconic for its beautiful undulating lush natural landscape and mountainous terrain, with steep slopes and rocky outcrops providing a challenging environment to build in. An existing unused parking platform on the university campus was identified as the extent of the site, a welcome constraint that mitigated surface challenges and guided the edges of the building to limit the impact on the natural environment.

The design intent of the Science Research Facilities for the University of Mpumalanga was to challenge the conventional learning practices of science within academic institutions which are mostly highly regulated and inaccessible to the curious eye. The building program has been spaced over separated buildings, punctuated

by courtyards of various sizes that ensure the building is breathable, light and takes advantage of the climate and natural landscape of the Mpumalanga region, furthermore balancing the enclosed laboratories and open space. The envelope celebrates the program of the various laboratories through generous transparency in the facade whilst still sensitively responding to the climatic and functional requirements of an effective laboratory workspace.

By dispersing the building program across the site, new intermediate zones are created through courtyards, lingering thresholds and exposed service rooms, all connected by open covered walkways that wrap around the main courtyard.

The programmatic arrangement of this building along the circulation spine exposes the entire procedure of the working nature within a laboratory, which in turn visually opens up the scientific discourse to the public realm.

Exteriors The exterior program takes advantage of the visual connections of the laboratories by providing generous walkways and defined courtyard spaces to encourage people to linger and potentially learn through visual engagement. The courtyards nestled in between

the laboratories have been designed as open terraria that exhibit the thriving micro-ecologies of Mpumalanga.

A strong groundwater source uncovered during the construction phase is guided through the main courtyard through recessed channels on the ground, further reinforcing the powerful presence of the natural context.

Materials The material palette is a selection of honest materials; a warm toned face-brick, off shutter concrete and glazing ensuring the envelope remains in line with the broader campus aesthetic. Terazzo floors continue the sentiment of honest, hardware materials throughout circulation routes, while the doors and joinery made up of locally sourced hardwood timber lend a warmth to the crisp white laboratory interiors.

MEET THE TEAM Architects: Ludwig Hansen Architects and Urban designers Landscaper Architects: kwpCREATE Landscape Contractor: Likhutsa Projects

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PORTFOLIO The Landscape Architects Situated on the Lower Campus of the University of Mpumalanga in Mbombela, the Science Research Facilities, designed by Ludwig Hansen Architects and Urban Designers, form an interesting network of buildings that allowed for optimum interaction with the landscape. This site and region can be characterised by its rocky outcrops, undulating levels and both the Lowveld forest and grassland biomes. It was our aim as the landscape architects to respond to and enhance the unique character of the existing natural landscape, whilst providing ample space for students to ‘spill out’ of the building into various landscaped zones. We endeavoured to contribute to the surrounding landscape ecology through the planting selection, resulting in a number of indigenous gardens inserted throughout the building complex.

The smaller courtyard spaces nestled between the various building blocks were considered to be lower-light zones, and carefully selected species

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from the surrounding endemic forest biome were selected for these areas. The larger, or main, courtyard serves the function of guiding students and staff to the various building blocks, whilst providing a public space for gathering and resting.

Custom designed stormwater channels, linking the planted areas, were inserted into the concrete paving to form part of a well-considered stormwater network that was designed to deal with a constant flow of groundwater through the main courtyard. This ultimately guided much of the design, enabling the main courtyard to be both ecologically functional and socially and aesthetically inviting. Custom designed benches were included as an extension of the architectural language, and drinking fountains were introduced to ease the effects of the Lowveld heat. The students who study in the buildings are fortunate to have both visual and physical access to the landscaped areas at all times, due to the close relationship between building and landscape.

PORTFOLIO SUPPLIERS Clay Pavers and Building Bricks: Federale Stene – 013 241 2302 Lighting: Regent Lighting Solutions – 011 474 0171 Tiling: Union Tiles- 011 663 2000 Software Used: ArchiCAD Graphisoft- 031 764 1314 Waterproofing: SIKA South Africa- 031 792 6500 Benches: Wilson Stone – 011 615 6212 Paint: Plascon - 0860 204 060 Nurseries: E-Grow - 013 516 0037 Likhutsa Nursery - 013 751 3030 Skukuza - 013 735 4312 Tree Factor - 073 748 4460 Irrigation product: Rain Bird

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NURTURE

DESIGNING INTERACTIONS

in the Landscape

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Landscape architects and planting designers are the fundamentals of most design projects.

Planting takes architecture to a different level, through their varying characteristics in size, shape, texture and colour. The inevitable result of nature being incorporated into man-made hard structures, results in the birth of an ecology. This is vital to both mankind and to the construction project – where ecology makes various building materials possible.

My attention was drawn to planting design in 2015. I was a qualified horticulturist working for a landscape architecture office. I found that within the industry and office, the same plants were used, which made up what we called, the ‘winning recipes’. These recipes consisted generally out of plants which are well known in the South African landscape context – Agapanthus, Dietes., Plectranthus, Tecoma etc. Furthermore, these plants were used in a ‘traditional planting design’ method with bubble diagrams. An example of this consisted out of groupings of 36 Plectranthus sp. (six packs)

n South Africa, landscape architects and even more so, planting designers are members of an unknown profession to much of society. I, like many in these professions, believe that planting design can and does add value to design projects in the built environment.

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NURTURE

in front, 24 Agapanthus sp. (4kg) in the middle and 40 Tecoma sp. (4kg) as a hedge. Other landscape companies were following the same or similar principles. These traditional planting methods are substantiated through the traditional use of geometric and regular patterns from the 19th and 20th centuries. Frederick Law Olmstead initiated the idea around ‘ecological landscape architecture’, with the perennial border by the British designer, Getrude Jekyll and the Brazilian painter, Roberto Burle Marx.

These artists created landscape design paintings, using swift organic strokes and lines. However, in a South African context, during the 21st century, it did not complement the environment, project budget, architecture and most importantly – the aesthetic of plant growth over time. What I did understand, was that these traditional methods were used for elongated blocks as drift planting.

This set out the aesthetic perception for the experience of the viewer, along with making maintenance easy.

From my experience in the industry, landscape projects seem to merely be born by a series of left-over spaces due to work done by architects or engineers. In most cases, we aren’t the front runners of the projects, or given a chance to design the landscape spaces which we could conceptually develop or install. This led to my argument around interactions of planting design, essentially all we were doing was planting. The ‘winning recipes’ were applied to these spaces, which didn’t always aesthetically work or respond to the site analysis of the project. Landscapes or planting need to be well thought about due to constant ecological change and that is what sets us aside from other sectors in the built environment.

As I knew that my interest lied in planting design, I began my research through observation from experience (before I read books by professional

Figure 1 - One of my first observations, of how plants adapt and survive in the wild Lapeirousia corymbosa (Helderberg mountains)

Figure 2 - Plant Interaction between Dimorphotheca and Drosanthemum. Found in Cape Flats Dune Strandveld, Scarborough, Cape Town.

planting designers such as Piet Oudolf, Gilles Clément, James Hitchmough). Observing plants in their natural environment, I noticed how they grow, adapt, support, survive and flourish seasonally through mother nature (of course this meant that there weren’t any human influences).

This lead to my question – if plants grow, adapt, support, survive and flourish on their own over time, why do we spend so much time on the ‘planting plan’, something which will require a significant amount of maintenance? Additionally, a planting plan is a representation, distancing us from the installation process and which will change on site or need to be amended in a few years.

Fast forward three years, I find myself in 2018 – completed my BTech and Masters of Landscape Architecture, titled ‘Connecting with the Touchscape’. My thesis questions how we can encourage the connection between humans and ecology. A mindful understanding of how interactions can offer a design manifesto for cohesive actions between humans and ecology.

A similar topic to what I am exploring and experimenting with now in my company. Since my thesis, I have gathered a lot of information from research, working and talking to knowledgeable people within the industry.

I am now a landscape architecture lecturer and recently registered my company titled ‘INTERAction studios’. Since the 2020 ‘COVID-19’ pandemic, mother nature is desperately urging us to think differently about how we are living our fast-paced lives, as well as using the resources sustainably and giving back what we take. This will probably take some time and I know that it’s challenging with deadlines and grand openings. I hope that this will encourage council and private clients to have a mindful approach to how things need to be done.

We should design for ecology and then for people.

It’s about the circle of life. The interactions which affect the plant species, then in turn affects us again, with wind, precipitation, soil and all pollinators and microbes. It is imperative to understand these interdependencies and then to start an ‘ecological landscape design’.

Ecology is always changing and adapting. We cannot restore it, but we can design with the ecological succession that we experience. Gregory Bateson talks about it in his book ‘Mind and Nature’: "I hold the presupposition that our loss of the sense of aesthetic unity, was quite simply, an epistemological mistake," meaning that we create our own perceptions in the world we live in from anthropology and phenomenology. So, in fact, the starting point should be natural plant arrangements combined with your design skills. prolandscaper.co.za

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NURTURE This ties in with what I do at INTER-Action studios. We look at ecological planting design through the aesthetic, resilient, biodiverse and seasonal lens. This is done through the process of designing plant interactions, where plant types are selected to form a community for the specific project. Solely looking at interactions between the human experience, plant growth and the broader ecology.

Figure 3 - A community of Ornithogalum, Ursinia, Albuca, Cotula, Seriphium and Cynodon. Found in Swartland Shale Renosterveld, Darling, West Coast

With this process in mind, I encourage clients to approach landscape projects differently. It’s about the process, starting with analysis which needs to run over a prolonged time period – at least one year – so that we can analyse the site through its different connections or rejuvenating the soils if necessary. This is project specific, i.e. stripped landscapes, post-industrial, rehabilitation and other important landscape forms. We can decide how we will design the landscape and arrange the plants on site. This will be followed by a management period of least two to five years. Argued through designed plant interactions, they should be aesthetic, resilient, biodiverse and seasonal – combined to adapt over time and not requiring traditional maintenance. I look forward to combinations of grown plant material and plants from seed, as well as liaising with the horticultural industry, in growing important plant types and species.

I am interested in the idea of landscape being made up of a series of connections which have interactions with each other. Interactions are similar to when Emile from the movie ‘Ratatouille’ eats cheese and strawberries in separation, but when he combines the two flavours with each other, “something completely new happens!” The interaction is what I am fascinated about – how does the planting and landscape look aesthetically when these interactions communicate together.

A B O U T I N T E R - AC T I O N S T U D I O S I specialize in Planting Design, with the motto: design. | arrange. | manage. I’m fascinated by the interactions between different plants and the relationship of human experience to the growth of plants and broader ecology. My designing process specifically looks at Aesthetics, Biodiversity, Resilience & Seasonality.

Figure 4 - Installed project - Lalegno Factory, Road Verge Planting Design. In Cape Flats Dune Strandveld, Firgrove, Cape Town

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DIRK SMIT MLA, LArch Dip. Hort

+27 72 381 7110 dirkjasmit@gmail.com @inter.action.studios @Dirk j. Smit

FLORICULTURE WHOLESALE GROWERS Wholesale Growers of a variety of quality plants for the Retail - Landscape and Export market.

Deliveries to all provinces.

SPECIALISING IN: Commercial Landscaping | Hydro-seeding | Sport field Construction | Irrigation | Construction GreenSight Landscape & Irrigation is Based in Bloemfontein and available Nationwide

0814645147 / 0834956962 orders@floriculturegrowers.co.za Plot 130 West Road , Cnr of West and North, Mnandi

Stefan Oosthuizen 082-8201310 admin@gslandscapes.co.za www.greensightlandscapes.com

Likhutsa Nursery is a thriving wholesale and retail nursery that propagates ornamental bedding plants, shrubs, groundcovers and trees, as well indigenous and exotic plant types. We are well versed in all aspects of our trade and take pride in providing all clients with our knowledge and plant information.

Portion 52 (Portion of Portion 9), Burgershalle farm, Kiepersol MR Thabethe: 083 689 9581 | 013 751 3030 www.likhutsa-co-za9.webnode.com

S I T E V I S I T:

Du Prins Wholesale Nursery Q: Tell us a little about how Du Prins was established?

A: Du Prins Wholesale Nursery was established

in 1992. The daily operations of the nursery are run by David du Toit who is the general manager and Josef Masilela as the production manager.

They are assisted by Prof ES du Toit renowned horticulture specialist. Michelle Stanton, an MSc Horticulture student, is also part of this diverse team and assists with special projects on a parttime basis.

At the time of establishment, David du Toit was a post-graduate student in Horticulture at the University of Pretoria. During an excursion visit to Bergland Tuine, the owner Gerrie Roos convinced David to produce Hedera canariensis plants for

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him on a contract basis. Over the years, the nursery has developed into an operation of 2.4ha on two sites, producing around 1.5 million plant units per annum. Currently, it produces about 120 species, carefully chosen to service the corporate and residential landscape markets.

The nursery employs 28 full-time staff. The two nursery sites are situated north of Pretoria, with the main premises at the Onderstepoort Veterinary Institute.

Q: Which areas of South Africa do you service?

A: Du Prins delivers to all parts of Gauteng,

Noth West, Limpopo and Mpumalanga provinces. Deliveries to all other provinces are contracted out to service providers.

NURTURE We also understand the difficulty for smaller landscapers to run sites, source and collect quality plants at reasonable prices. We make it our aim to service these landscapers and help them grow their businesses.

In general, we grow all our own stock, and we aim to produce at least 5,000 to 10,000 of each specie of plant. This enables us to fill big orders with uniform plants at competitive prices for corporate landscapers and plant brokers. The benefit of producing in Gauteng ensures that our plants are hardy and adapted to the cold highveld climate during winter months.

Q: Market trends for the corporate landscaper?

A: Well, we are licensed growers for OZ Breed

as well as for “Knock-out” roses. We keep a keen eye on developments in plant choices and developments in the industry as a whole. With this in mind, we have developed a model that helps us predict future trends and selling volume of plants in the landscape market. The nursery has a light management structure that enables it to adapt to a changing market, and fast.

We have seen the movement to bushveld type of landscapes as a general trend. The mass planting of veld grass interplanted with flowering bulbs has also been rather popular. The fact that these types of landscapes are waterwise should be seen as a bonus.

Q: What would you say Du Prins is best known for?

A: The management team places a high emphasis on scientific horticultural practices to solve problems in production cycles of plants. It is our

passion to solve propagation problems of difficult to grow plants. Currently, we are known for the production of Elegia tectorum, Trachelospermum jasminoides, and a variety of veld grass. We are members of both SANA an IPPS (International Plant Propagators Society). IPPS has been a priceless source of horticultural knowledge over the years. If possible, we travel to international conferences to stay abreast of all the latest developments in the industry.

Q: What projects have you recently supplied and worked on where we might see some of your plants?

A: Some projects Du Prins has been involved

in include: The Blyde, Cape Town International Airport, Waterfall Estate, Highlands Golf Estate, Riversands development, Kia Silverlakes, and Rainbow Junction.

Q: How do you see Du Prins nursery growing

within the green industry, especially as we consider a 'new normal' in life after COVID-19?

A: We are certainly planning for the impact of

the COVID-19 virus, which we feel will only really come into full effect in six months’ time. Thus, we plan to consolidate and improve efficiency.

We do, however, expect an upward trend in the long-run for the green industry. We believe that a move back to a more wholesome type of lifestyle is on the cards. This will include, working from home, stay-at-home entertainment, homegrown vegetables, more park landscapes for exercise and entertainment, and development of green and sustainable housing developments, especially for high-density communities. With this, we do see a growth in the DIY as well as gardening sections of the economy, but it will take time.

DU PRINS OPERATES OVER 2.4 HA ON TWO SITES AND PRODUCE +- 1.5 MILLION PLANT UNITS PER ANNUM

For more information, visit the Du Prins website www.duprins.co.za, our Facebook page, or our Youtube channel (Agriculture Academy) where we share our horticultural and propagation knowledge, or contact us at: duprins@absamail.co.za | 082 850 8019

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The only representative body for, and the national voice of, the landscape industry Why become a member of SALI? • Landscaping Standards Manual • Marketing • Endorsement

• • • •

Networking Recognition Skills Development Mediation Services

• • • •

Contract Documentation SACLAP Registration CPD Training Annual Awards

Our mission statement To improve the standing of the landscape industry and to promote the participation of all role-players in this industry in Southern African by encouraging training, higher standards, professionalism, ethical condust and social interaction through regular meetings, conferences, workshops and liaison with businesses, training and government institutions, statutory bodies, NGO’s, employer and employee organisations Members include: Landscape contractors, selected suppliers, associates, employees and students.

Eligible supplier members who support the Code of Conduct and offer quality products and services qualify to display this logo as an outward sign of their commitment to Best Practice

Contact SALI for more information Cape: TEL (+27) 67 828 0667

|

Gauteng: TEL (+27) 67 246 3092

|

KZN: TEL (+27) 83 361 8228

Email: info@sali.co.za | Website: www.sali.co.za

MORI HOSSEINI

Student Union

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INSPIRE

Project name: Mori Hosseini Student Union at Embry-Riddle Aeronautical University Architecture Firm: ikon.5 architects Gross Built Area: 16,722 m2 Project location: Daytona Beach, Florida, USA

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nspired by the gracefulness of birds in flight, the student union building at Embry-Riddle Aeronautical University is an expression of its mission to teach the science, practice and business of aviation and aerospace. Located at the front door to the campus, the building’s gently-soaring form expressing flight creates an iconic identity for the University and embodies its student’s values of fearlessness, adventure and discovery.

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Internally, the student union building is an aeronautical athenaeum combining social learning spaces, events, dining and the University library.

A soaring, triple-height commons anchors and integrates the collaborative social and learning interiors. Wrapping this space and open to it are lounges, dining venues, group study rooms, clubs and organizations, career services and the University library as well as an event center, creating a virtual “city within a city”. The 177,000-square-foot facility houses stu-dent lounge spaces, a dining commons and food court on the first floor. Also, on the first floor is an events center that can accommodate up to 900 people and is divisible into six separate salons.

The upper floors contain offices for student clubs

and organizations, classrooms, computer labs and group study rooms. The top floor houses the University library which is set beneath a dynamic 200-foot arching skylight and opens the sky to the library. A roof terrace on the second floor allows stu-dents to gaze upon the adjacent runway of Daytona International Airport and beyond to rocket launches from Cape Canaveral.

The specific materials and manufacturers were chosen to advance the design idea. Creating a build-ing that invokes flight and aerodynamics meant the materials need to be smooth, machined and aer-odynamic in appearance. Each of the materials and manufacturers provided on this project helped advanced that idea.

INSPIRE

MEET THE TEAM Lead Architects: ikon.5 architects Client: Embry-Riddle Aeronautical University Structural Engineering: Thornton Tomasetti MEP/F Engineering: OCI Engineerings Civil Engineering: Parker Mynchenberg & Associates Landscape: Prosser Lighting Designer: Fisher Marantz Stone General Contractor: Barton Malow Company Photo credits: Brad Feinknopf - www.feinknopf.com

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MODULAR PLAY SYSTEMS

Modular play systems are designers and manufacturers of bespoke commercial playgrounds for the restaurants, shopping centres, schools and private estates. We specialize in custom designed playgrounds and have a huge range of standard playgrounds which can suit any application and customer requirement. vicente@modularplaysystemsint.co.za | 011 474 6930

CUSTOM SHADES AND DESIGN

Custom shades is a tensile structure manufacturer, we specialize in custom designed structures to meet our customers needs. We specialize in conical, barrel vault and hypar (shade sails) structures. Custom shades has a full design, engineering, fabrication facility and have our own rigging teams to carry out installations.

We service restaurants, shopping centres, schools, private estates and government buildings. bruce@customshades.co.za | 011 474 6930

A landscape that is correctly hydrozoned can save between 30% and 38% water.

• High water use zone (3 drop) This hydrozone should be kept as small as possible. These plants will need frequent watering throughout the year. Plant 3 drop plants, such as annuals and spring-flowering bulbs, in containers.

• Medium water use zone (2 drop)

Is your landscape hydrozoned?

Keep this hydrozone relatively small, as these plants will need more water than that is received as rainfall in your area. Many popular exotic garden plants are considered 2 drop.

• Low water use zone (1 drop) This hydrozone can be as large as you like. 1 drop plants will thrive mainly on the rainfall received and may only need a little extra water in dry months. Plants suitable for this zone are often indigenous plants.

• Very low water use zone (0 drop) You may make this hydrozone as large as possible. Plants that are categorized in this zone are often established local indigenous plants, shrubs, and succulents. A very low water use area may also include permeable paving and hard landscaping.

www.randwater.co.za and click on the Water Wise logo FOR FURTHER INFORMATION ON WATER WISE, PLEASE CONTACT US ON: 0860 10 10 60