Lúnell Greyling 2016102721 ODE to TRAGEDIES LOST between LAND and SEA A Shipwreck Interpretation Centre at the Southern Tip of Africa to collect, retell, and bridge different events through fragments and sequences of architectural mises-en-scène Department of Architecture, Faculty of Natural and Agricultural Sciences, University of the Free State. Candidate: Lúnell Greyling | 2016102721 | lunell.greyling@gmail.com Declaration: This dissertation is submitted in partial fulfillment of the requirements for the degree M.Arch.(Prof). at the University of the Free State. The research in this document is my own work, unless stated otherwise. ABSTRACT The ocean, a vast and mysterious force, sets the stage for tragic shipwreck events around the Southern Tip of Africa. Nearly 3 000 historical shipwrecks of different nationalities met their untimely demise at the hands of the ocean (SAHRA, 2020: online). Some are rooted in the depths of the ocean while remnants of others still protrude the surface of the sea clinging to the land awaiting their end. Meisho Maru no.38 fishing trawler, em-placed in the scene of the Southernmost Tip of Africa, is an icon in the larger shipwreck narrative caught between land and sea. Time has taken a toll on this icon with each year the memory rusts and fades away, as the ocean finishes what he started on 16 November 1982 (Atlasobscura, 2021: online). A Shipwreck Interpretation Centre, located next to Meisho Maru no.38 and Agulhas National Park, is proposed to preserve and recount forgotten shipwreck tragedies. The strong film quality of the setting inspires an intervention that builds on the experiential cinematic elements, creating architecture that tells a story. The Shipwreck Interpretation Centre, funded by SAN Parks, proposes sequences of ar- chitectural mises-en-scène which articulates both the dualities between and interconnectedness within human experiences as visitors move through places and times. SHIPWRECK by Luís Vaz de Camões - translation by William Baer (2005: 26-27) “Like the weary sailor, the refugee from wreck and storm, who escapes half-dead, and then, in terror, shudders with dread at the very mention of the name of the ‘sea’; who swears he’ll never sail again, who raves he’ll stay at home, even on the calmest days...” Figure 1: Meisho Maru no.38 shipwreck illustration (Author, 2021) Figure 2: Meisho Maru no.38 shipwreck on the shoreline of L’ Agulhas (Author, 2021) i TABLE OF CONTENT TABLE OF CONTENT Chapter ONE: SITING the CONCEPTUAL REACTION Telling and Interpreting the CINEMATIC QUALITY of the PREFIGURED SCENE Chapter TWO: SITUATING CONCEPTS and IDEAS Investigating and Interpreting Architecture as CINEMATIC SPACES Chapter FOUR: RETELLING EVENTS through ARCHITECTURAL scenes Developing architectural MISE-EN-SCENES that retells and bridges tragic shipwreck events Chapter THREE: Investigating the TYPOLOGY, MORPHOLOGY and TOPOLOGY Analyzing ENVIRONMENT, FUNCTION and PRECEDENTS Chapter FIVE: EPILOGUE APPENDIX A: Construction documentation ACKNOWLEDGMENTS PLAGIARISM: Turnitin receipt REFERENCE LIST STAGING the RESEARCH FRAME ABSTRACT +Introduction +Chapter layout +Research tools +Introduction +Identifying the prefigured scene +Interpreting the prefigured setting -Hotagterklip fisherman cottages -Cape Agulhas Lighthouse -Southern Tip of Africa Icon -Meisho Maru no. 38 - Southern Tip of Africa Shipwrecks -Quality of Prefigured scene +Touchstone +Conceptual development +Structural touchstone + Application +Introduction +Type of film -Magical realism in prefigured setting -Categories of tragic experiences -Types of shipwreck vessels +Mise-en-scène +The influence lighting has on the narrative -Artificial and natural light illustrated in film and architecture +Cinematography -The different emotions and experiences shots and angles convey -Shots illustrated in architectural prece- dent -Angles illustrated in architectural precedent + Editing -Editing illustrated in architectural precedent +Application +Introduction +Site analysis -Regulations impact on location of main footprint -Soil conditions, flora and climate +Client and user +Brief and program development -Accommodation list +Precedents -Mapungupwe Interpretation Centre -Allemannjuvet Zinc Mine Museum -Skin over Reed -La Rampinya Elevator -Hakka Indenture Museum -Chemin des Carriers + Conclusion +Introduction +Design development -Scheme 1 development -Scheme 2 development -Scheme 3 development 1# -Space requirement -Structural system development #2 -Scheme 3 development #3 +Final design proposal +Final Model +Technical Investigation -Introduction -Site and environment -Site planning -Parking and Landscaping -Horizontal and vertical circulation -Structural system -Passive design strategy -Building services 1-4 5 6 8 9 10 11-12 13-14 15-16 17-18 19-20 21-22 23-24 25-30 31-32 33-34 36 37 38 39 40 41-42 43 44 45-46 47 48-49 50 51 52 53-56 58 59 60 61-61 63 64 65-66 67-68 69-70 71 72 73-74 75-76 77 80 81 82 83-86 87-90 91-92 93-96 97-106 107-138 139-142 143-154 143 143 144 145-146 147-148 149-151 152 153-154 i. 7 35 57 79 155 157-165 166 170 167-169 +Conclusion 156 iiiii The dual theme and aim may subsequently be reformulated into the following problem statement and research question. PROBLEM STATEMENT: RESEARCH QUESTION: How can architecture employ a series of experiential cinematic scenes to interpret, frame, and preserve shipwreck events? If many tragedies of shipwrecks are lost to memory; if being part of the stage of a tragedy allows us to experience the dualities and interconnectedness of events; and if architecture is the curation experiences though fragments and sequences of scenes; then architecture as fragments and sequenc- es of mise-en-scène can situate us expe- rientially on the stage of a tragedy and allow us to collect and retell lost tragic stories STAGING THE RESEARCH FRAME My interest in the tragedy of human experiences, as told by shipwrecks, stems from an engulfing personal encounter I had at Cape Agulhas. Standing on the coastal ridge of the Southern tip of Africa, I saw in front of me the wreck of the Meisho Maru No. 38 (figure 3), a small Japanese fishing vessel. Anchored on a rocky outcrop, like a small island just of the land but mysteriously connected to the land, it was surrounded by sea. So close to the ground I was standing on and at the same time unreachable without entering the sea, the shipwreck simultaneously appeared as a bridge between land and sea, while articulating the duality between these two very different places. Not only did the coinciding closeness-dis- tance of the wreck connect and disconnect distinctive places, but also made me aware of the familiarity and strangeness inherent to time. In part, the ruin preserved a specific time, a date: 16 November 1982 when the Meisho Maru No. 38 run aground. That moment in a storm with 17 people struggling to swim to the coast was ultimately very different from the moment I stood looking at the wreck, and moving over the land- scape towards the ruined object (Atlasobscura, 2021: online). Yet, in the presence of the mise-en-scène created between land and sea, marked by this shipwreck, I found myself able to imagine an experience in empathy with the survivors; transported back into time and place, reliving a scene or event, precisely because of the stage set up by the wreck at Cape Agulhas. I asked myself... How can architecture serve the same function as the wreckage, how can it bring experiences closer or remove experiences, how can architecture act as a mimetic tool, just like the scene created by Meisho Maru No.38 em-placed against the backdrop of a specific meeting of land and sea, to amplify and/or bridge differences in place and time through the movement in space? Considering the mystery, which the decaying shipwreck holds as a vessel of the memories of the past - stranded in the in-between - the follow- ing question presented itself: is it important to employ architecture at all to collect, retell and bridge shipwreck events? Is the image of the wreckage, a symbol of interpretation without any explanation, not what draws us to its presence? Figure 3: Meisho Maru shipwreck caught between land and sea (Author, 2021) This question lead me to realize that: yes the ruin of what once was, memories lost in time, alludes us to remissness on the past. I realized how little I know of the Meisho Maru No. 38 or for that matter, by extension, how little most of us probably can recall of the tragedies of shipwrecks as such. But if there is nothing to hint at what once was we would never think twice about the tragedies lost at sea. Preserving these memories is therefore important that the history can be re-experienced and remem- bered. My first premise is that it is important to collect and retell trag- ic events. The second that in being em-placed and embodied within scenes and moving through scenes allow a visitor to imag- ine the experience closer. To become more aware of the du- alities and interconnectedness of place and time, and human experiences of such dualities and their interconnectedness. From this personal experience, I formulated the leading theme of this research, written into my master’s subtitle: A Shipwreck Interpretation Centre at the Southern Tip of Africa to collect, retell and bridge different events through fragments and sequences of architectural mises-en-scène. By extending this subtitle, the aim of this design project is ex- plored: This theme and aim attempts to preserve and recount forgot- ten shipwreck tragedies through sequenced architectural mises-en-scène which articulates both the dualities between and interconnectedness within human experiences as visitors move through places and times. 21 While the wreckage is the main driver for this project, the unique positioning of the site extends the viability of the scheme as there is a link with Agulhas National Parks owned by SAN parks shown in figure 4. The development of a Shipwreck Interpretation Centre, that conserves the cultural heritage of Agulhas, supplements the mission statement of SAN parks for Agulhas National park: “To implement and promote the conservation and sustainable use of the globally unique terrestrial, freshwater and marine biodiversi- ty and cultural heritage of the Agulhas Plain. Building on the spirit of place of the Southern- most Tip of Africa, to unlock benefits together with local communities, now and in the future”. (San Parks, 2020: 39) The proposed site as well as the Park lies on the Agulhas Plain in the Overberg region of the Western Cape. The park is west of L’ Agulhas and also the location of the South- ern Tip of Africa and Agulhas lighthouse (San Parks, 2020: 16-26). The proposed site, shown in figure 4, which forms part of SAN park’s short-term expansion is outside of the national park in a buffer zone which is currently at the hands of the Agulhas Municipality. MEISHO MARU no. 38 shipwreck PROPOSED SITE Rasperpunt hiking trail SOUTHERN TIP of AFRICA ICON AGULHAS LIGHTHOUSE L’ AGULHAS COASTAL VILLAGE INDIAN OCEANATLANTIC OCEAN SAN PARK OFFICE The site is adjacent Rasperpunt hiking trail which forms part of Agul- has National Park which together with The Southern Tip of Africa monument attracts many day visitors that creates an opportunity for the development of another tourist attraction which can benefit the local community of Agulhas and SAN Parks. Given this unique setting of the site, this dissertation accepts that SAN Parks is the best client for the Interpretation Centre. The Ship- wreck Interpretation Centre can then accommodate a SAN Park vis- itor’s reception with hikers orientation which links with Rasperpunt Hiking trail and administrative facilities which allows the functional needs of the park to be accommodated while still including experi- ential spaces. The existing SAN Park office is situated outside the park adjacent the lighthouse (figure 4). The addition of an office more integrated into the park and closer to the hiking trails creates easier access for day visitors who wants to obtain information and permits for the Rasperpunt hiking trail. Within my research focus, the design project centers on staging the fragments and sequences of different INTERPRETATION SPACES (experiential pavilions), which emplace and embody the visitor within the narrative of the tragic shipwreck events. The interpretive space’s connection with the shipwreck becomes important as the ruin should be honoured seeing that as it can soon be washed away and disap- pear from memory. Walkways and raised boardwalks become these dynamic connec- tion spaces linking the Agulhas National Park Visitors Centre, and shipwreck interpretive pavilions with the Agulhas National Park and Meisho Maru Shipwreck. Figure 5: Interpretation Centre program (Author, 2021)Figure 4: Map illustrating the location of icons in Agulhas, Meisho Maru shipwreck and SAN parks (author, 2021) 43 Chapter FOUR synthesiz- es the previous chapters to develop architectural mise-en- scenes towards a final proposal and technical resolution. This chapter aims to merge the- ory, design, and construction in a symbiotic relationship in to create a Shipwreck Interpreta- tion Centre. Chapter FIVE serves as a conclusion for the dissertation. Chapter THREE analyses the macro, mezzo, and micro environment together with ar- chitectural precedents which inspire and influences the design. This investigation at- tempts to develop an appropri- ate understanding of the topol- ogy, morphology and typology. Chapter TWO serves as the theoretical underpinning, which investigates and interprets ar- chitecture as cinematic spaces. The theoretical concept devel- ops a better understanding of an experiential quality within different cinematic shots and how it can be translated into ar- chitectural spaces to convey a certain narrative. Chapter ONE tells and inter- prets the cinematic quality of the prefigured scene within which the project is set. This aids in the understanding of what influences the feeling of the place and acts as a first at- tempt at a conceptual reaction. SITING the CONCEPTUAL REACTION SITUATING CONCEPTS and IDEAS 1. 2. 3. 4. 5. RETELLING EVENTS through ARCHITECTURAL SCENES Investigating the TYPOLOGY, MORPHOLOGY and TOPOLOGY EPILOGUE RESEARCH TOOLS: The research tools aim to address the problem statement and answer the research question. These tools are used throughout the chapters to reach a design solution that interprets, frames and preserves ship- wreck events. The research tools include: CHAPTER 1 : - A photo analysis supplemented by factual information of the places in Agulhas influence the feeling of the place and specific site. - Touchstone and conceptual analysis of the place which captures the essence of the project and the site, which develops the theoretical ideas of the project. CHAPTER 2: - Literature review and interpretation of cinematic elements and techniques that serve as a theoretical underpinning for design and construction decisions. CHAPTER 3: - Site analysis that investigates the macro-, mezzo- and micro influences of the site that influences the design and construction. - Architectural precedent analysis that pertains to theory, design and construction further reinforce decisions made in the design process. CHAPTER 4: -Design and construction exploration sketches and models which are used to reach the final design pro- posal. Figure 6: Diagram illustrating the chapter layout (Author, 2021) 65 SITING the CONCEPTUAL REACTION Telling and Interpreting the CINEMATIC QUALITY of the PREFIGURED SCENE CHAPTER ONE The prefigured scene understood as the pro- posed site of the Shipwreck Interpretation Centre before my intervention, is located be- tween the Agulhas National Park and the sea overlooking Meisho Maru no.38 Shipwreck. The prefigured scene stretches from the coast- al mountain over the R319 gravel road towards the Meisho Maru shipwreck and the sea. The R319 does not only divide the site but also con- nects it with Cape Agulhas, the Cape Agulhas Lighthouse, the Southern Tip of Africa, and Agulhas National Park. All these places and landmarks become important to the overall feeling of the place. The feeling of Cape Agulhas, in my opinion, is based on the visual experience gathered in the sensory experiences moving in and through the place. It has a cinematic quality about it where each view becomes a scene framing the feeling of the place. No text or audio tells you how to feel. The climate, land, sea, man-made and in-between sets the scene for interpreta- tion allowing the viewer to react and feel cer- tain emotions. Extracting and interpreting these experiences allows for a conceptual reaction that listens and reacts to the spirit of the place. Figure 7: Aerial image of the prefigured scene (Google earth, 2021: online. Adapted by author) 87 IDENTIFYING THE PREFIGURED SCENE Figure 8: Prefigured scene located in Agulhas, Western Cape (San Parks, 2020: 159. Adapted by author) INTERPRETING THE PREFIGURED SETTING The Agulhas plain has an exceptionally rich archaeological history. Remnants of Khoe-San settlements can be found along the coast in- cluding stone hearths & pottery, shell middens, and ancient fish traps (San Parks, 2020: 16-26). The extraordinary winds along the Southern tip of Africa lead to a graveyard of ships in the region (San Parks, 2020: 16-26). The shipwrecks lead to the development of the coastal area as the shipwrecks survivors settled in the coastal village: ‘The shipwrecked strangers from the sea, whether they were the Phoe- nicians, Chinese or Europeans, left behind a heritage in the form of specific skills, naming of places, building material and intermarriage with the local people’ (San Parks, 2020: 16-26). The shipwrecks played a significant role in the region and influenced the vernacular style and other landmarks in the area. Interpreting these landmarks becomes important to the dissertation as it forms part of the history of the place. Figure 9: Interpretive sketch of the development of Agulhas (Author, 2021) 109 HOTAGERKLIP FISHERMAN COTTAGES - Vernacular architecture Fisherman cottages are located at Hotagterklip in Struisbaai, Western Cape (Artefacts, n.d: on- line). Struisbaai forms part of the Overberg re- gion part of the greater Agulhas context. Stone structures are dominant in the region and they relate rocky coast and limestone outcrops. The form-giving of the structure draws on the typical Cape Dutch gable with the fireplace ex- tending past the top of the gable. The stone walls are more exposed towards the base grounding the structure. The whitewash finish on the exterior gets more towards the gable creating contrast between the wall and the roof. Between the grass-covered rocky landscape, the white buildings appear as contradictory fig- ures. Depending on different times of the day, seasons, and the light quality these white fig- ures may seem growing from the landscape or as ghost ships drifting above the earth. This vernacular architecture prefigures the de- sign intervention, acting as an already-there order, form, and type, associated with the con- texts. Figure 10-13: Fisherman cottage interpretations (Author, 2021) Figure 14: Perspective of Fisherman cottages (Author, 2021) 1211 CAPE AGULHAS LIGHTHOUSE- Colonel CC Mitchell (1847) The Cape Agulhas Lighthouse is the second oldest lighthouse in South Africa and it was designed by Colonel C.C. Michell in 1847. The lighthouse was declared a provincial heritage site in 1973 (San Parks, 2020: 16-26). The lighthouse was constructed to guide ships around the Tip of Afri- ca and ensure safe passage. The lighthouse beam of hope and safety was however no match for the strong current and rocky coast of Agul- has and it could not save the Meisho Maru from its impending doom. The lighthouse is till present an icon in Agulhas as it reaches past the coastal mountains towards the sky. The Agulhas lighthouse connects to the Southern Tip of Africa with a kilometer-long raised timber boardwalk that leads visitors along a visual journey. Figure 15: Raised boardwalk (Author, 2021) Figure 16: Sketch of Agulhas Lighthouse (Author, 2021) Figure 17: Image of lighthouse in the Agulhas context (Author, 2021) 1413 SOUTHERN TIP of AFRICA ICON- Agulhas Icon Design Group (2019) The Southern Tip of Africa is another landmark in Agulhas as it is where the Atlantic and Indian ocean meets. A sandstone (23 Octo- ber 1986) monument commemorates this meeting point (Xplorio, n.d: online). Due to the monument not being visible to tourists an additional icon was built in 2019 that was designed by the Agulhas Icon Design Group. The landscaped project links with the monument to celebrate the southern tip of Africa (Henegan, 2019: online). The icon consists out of a sculpted relief of the map of Africa that measures 18m in length with a weathered steel shard pointing South (figure 20). The map of Africa is surrounded by low sandstone curved walls that blend into the surroundings and allow for visitors to gather (Henegan, 2019: on- line). It not only becomes a space where two oceans meet but also where people come together and celebrate the natural elements. Figure 18: Tip of Africa monument (Author, 2021) Figure 19: Tip of Africa Icon from above (Author, 2021) Figure 20: Image of Tip of Africa icon from eye level (Author, 2021) 1615 MEISHO MARU no. 38 The Meisho Maru shipwrecked, 16 November 1982, on the Agulhas shoreline (Xplorio,n.d: on- line) is another landmark in the region and the main inspiration for the project. The shipwreck is one of the last visible shipwrecks on the Agulhas shoreline. The extreme forces of the ocean combined with strong winds, rocky reefs, primitive navigation- al technology, and inaccurate maps lead to the graveyard of ships (Grootbos, n.d: online). The Meisho Maru shipwreck can be argued to be an icon of all these shipwrecks scattered along the coast as it is firmly anchored at the location of the Southernmost tip of Africa where the Indian and Atlantic oceans meet. It finds itself at the meet- ing point of the tip of Africa and the two oceans. The shipwreck is caught between land and sea left behind by the 17 survivors falling into disuse and decay. The rear section of the shipwreck has already been claimed by time and the ocean, like the memories and narratives of all these wreck- ages the Meisho Maru is at risk of becoming just another memory lost at sea. The Southern Tip of Africa Icon re-articulates the point where the two oceans meet a Shipwreck Interpretation Centre can re articulate the memories of Meisho Maru and the symbolism it holds. Figure 21: Illustration of Meisho Maru Shipwreck (Author, 2021) Figure 22: Close up of Meisho Maru no. 38 Shipwreck (Author, 2021) 1817 SOUTHERN TIP of AFRICA SHIPWRECKS 1. Sailing Vessels Shipwrecks 2. Steam Shipwrecks The Interpretation Centre aims to commemorate the multiple instances of shipwrecks around the tip of Africa. The Meisho Maru acts as a mimetic icon, anchoring the tragic memories of vessels that cannot be seen from the coast. Nearly 3 000 historical shipwrecks of different na- tionalities are scattered around the coast of the Cape (SAHRA, 2020: online). The shipwrecks are classified under the four different categories of vessels namely Sailing, Steam, Motor, and Fishing Vessels: Sailing vessel shipwrecks include barque, schooner, brig, full rigged ship, hooker, brigantine, cutter or sloop types of ships. Some of the sailing shipwrecks according to South African Heritage Resources Agency (Moss, 2005 : online) includes: Name (Date wrecked) | Nation | Area wrecked Zoetendal (08\23\1673) | Dutch | Struis Bay Meermin (02\22\1766) | Dutch | Agulhas Joanna (06\08\1682) | British | 19km west of Agulhas Juno (03\02\1852) | Dutch | Agulhas Point Steam shipwrecks include tug, lighter, tramp or mailship ships. Some of the Steam shipwrecks according to South African Heritage Re- sources Agency (Moss, 2005: online) includes: Name (Date wrecked) | Nation | Area wrecked Birkenhead (02\26\1852) | British | Birkenhead Rock Hektor (03\23\1913) | Norwegian | South of Dyer Island John Patterson (06\01\1906) | British | Off Kogel Bay Soeptre (05\22\1925) | British | Northumberland Point (Struis Bay) Queen of the Thames (03\18\1871) | Australian | Ryspunt (Arniston) Figure 23: Commodoro II (1946) | United Stated | Milnerton (Flax, 2020: online) Figure 24: SS Clan Stuart (1914) | British | Simon’s Town (Flax, 2020: online) 3. Motor Vessel Shipwrecks 4. Fishing Vessel Shipwrecks Motor vessel shipwrecks include cargo ship, coaster, salvage vessel or oil tanker ships. Some of the motor vessel shipwrecks according to South African Heritage Resources Agency (Moss, 2005: online) in- cludes: Name (Date wrecked) | Nation | Area wrecked Felicia II (01\04\1973) | unknown | Danger Point Frontalini (01\01\0975 ) | unknown| Danger Point Stromgans (01\01\1975) | unknown | Danger Point Imp (06\04\1920) | South African | Hangklip Otori Maru 8 (03\19\1984) | unknown | Near Quoin Point Diana (01\26\1961) Quoin Point Wafra (03\12\1971 ) | American | Off Cape Agulhas Esso Wheeling (11\05\1948) | American | The Point Oriental Pioneer (07\22\1974) | Chinese | Northumberland Point Fishing shipwrecks include Trawler ships. Some of the fishing ship- wrecks according to South African Heritage Resources Agency (Moss, 2005: online) includes: Name (Date wrecked) | Nation | Area wrecked Andre Hugo (10\16\1994) | South African | 11km south of Agulhas Boela (06\15\1905) | unknown | Off Danger Point Una (05\01\1929)| South African | Sony Point Zuiderkruis (10\01\1959) | South African | Walker Bay Zuidam (02\09\1990) \ South African | West of Stuis Point (Agulhas) Bella Gambi (08\01\1974) | South African | Cape Infanta Hannington Court (07\14\1941) | British | 10 Miles off Dyer’s Island Figure 25: Antipolis (1977) | Greece | Camps Bay (Schadle, 2012: online) Figure 26: Meisho Maru 38 (11\16\1982) Japanese | Beyond lighthouse (Agulhas) (Flax, 2020: online) 2019 QUALITY of PREFIGURED SCENE The prefigured scene that overlooks the ship- wreck and sea, into the horizon has a strong cinematic quality. The existing hiking trail that travels up the coastal mountain takes the view- er on a journey. At the lower part of the trail large limestone rocks hide the shipwreck with glimpses where steel parts are visible beyond the rocky outline. With the journey up the hill, the shipwreck becomes more visible and starts to look small and fragile in contrast with the vastness of the sea as can be seen in figure 29 that frames the scene. The fynbos layer over the limestone rocks mim- ics the shipwreck as it also floats, but not on wa- ter, rather on sandstone mountains. Protruding limestone outcrops create moments of solidity within the porosity of the fynbos blanket. The shipwreck, like the fynbos, is porous in a sense as time has weathered its once-solid exterior. Dualities between the materiality of different forces are very present in the prefigured scene and contribute to the sense of place. Extracting the essence and spirit of the place through the touchstone and concepts develops the main conceptual ideas that will support the design process. Figure 27: Sketch showing quality on site (Author, 2021) Figure 28: Materials on site (Author, 2021) Figure 29: View from the top of the hiking trail overlooking the shipwreck (Author, 2021) 2221 TOUCHSTONE The touchstone explores the essence of the site and the project which is to pull apart and extract the rich history of the place; to give back meaning to the shipwreck that has lost its purpose through its stagnancy. It aims to celebrate the voice of the place caught between land and sea, linking the present with the memories of the past. The human act of movement and the landscape as an actor with verticality, horizontality, sea, earth and wind setting the stage for the temporal em-placed event. The BASE represents the limestone hills that form the base that stories and memo- ries get carved into. The MECHANISM and CHAIN act as a pulley that draws all the elements apart to extract the narratives embedded between land and sea. Figure 30: Touchstone before being pulled apart (Author, 2021) The STRUCTURE connects the memories to the specific place, without it the narratives will only float and not be grounded in place. The WOVEN TEXTILES narrates the history of the shipwrecks. It tells the story of search, wreckage, disconnect, redevelopment and decay that shaped the Agul- has Plain. The LIGHT illuminates the stories suspended like sails of a ship, creating shadows that make them visually tangible. It showcases the history of the place that has been extracted through the process of pulling the existing apart. The touchstone, therefore, acts as a catalyst that listens, interprets and retells the narratives that are becoming lost in time. Figure 31: Touchstone after being pulled apart (Author, 2021) Figure 32: Woven textile detail (Author, 2021) 2423 1. TENSION between the POLARITIES of PLACE The coastal village of Cape Agulhas that becomes the setting for the project has many polarities that influence it. These polarities are for example between the village grid and the nature reserve, land and sea, above water and below water, heavy and light. The concept draws on the tension between these polar forces to create a balance that respects the dualities rather than working against them. It further explores the notion of cause and effect. The natural environment has a big impact on the architectural outcome. The man-made structure has to react to the natural environment to create a symbiotic relation- ship between nature and architecture. The conceptual ideas further narrate and interpret the quality of Cape Agulhas and how it can be linked to the essence of the dis- sertation extracted in the touchstone. The three concepts draw on different qualities on-site to find a way to best celebrate the lost voice of the shipwreck caught between land and sea through architectural elements. CONCEPTUAL DEVELOPMENT Figure 33: Sketch of concept 1 (Author, 2021) Figure 34: Images of concept 1 model (Author, 2021) 2625 2. The DIALOGUE BETWEEN LIGHT and SHADOW Light plays an important role in the history of the place as it relates to the shipwreck. Light was used as a guiding element to lead ships to their safety. The concept plays on the dialogue between light and shadow. The one cannot exist without the other, structures and void become a way to mould light and shadow to create texture and artic- ulate spaces. The concept further explores how light and shadow can be used on site to allow for movement and the feeling of safety in the exposed coastal plain. Figure 35: Sketch of concept 2 (Author, 2021) Figure 36: Images of concept 2 model (Author, 2021) Figure 30: Sketch of concept 2 (Author, 2021) 2827 3. BRIDGING the MAGICAL REAL SPLIT The wreckage on site becomes a symbol of the memories lost at sea and all the mystery and magic it possesses. The concept explores the idea of bridging the magical real divide. The limestone outcrops that protrude through the fynbos blanket become an anchor point that starts connecting the magical and the real. It creates a solid base on where the narrative can be constructed upon. The real environment is very concrete and dematerializes towards the ruin to indicate the passage of time. Figure 37: Sketch of concept 3 (Author, 2021) Figure 38: Images of concept 3 model (Author, 2021) 3029 The structural touchstone explores ways of telling a story through “making” in the complex coastal environment. The different parts of the structure react to the environment and act as ways to embody the narratives of the place and the wreckages. The assembly and connection of the different elements further explore the concept of architecture as cinematic spaces, to create a structural language that relates to the theory. The sandstone foundation walls mimic the lime- stone outcrops and act as the base onto which the narrative will be connected. It becomes the real and tangible elements that create stability and root the design in the specific setting. The foundation walls edit the different spaces and becomes a promenade element as it starts to emphasize routes that relates to the existing limestone route up the site. The timber struc- ture latches onto the base becoming the mag- ical element which is in contrast to the solidity of the foundations, cross bracing will however be necessary to support the structure against the strong winds in the region. The morphology of the timber structure relates to the masts of wooden sailing vessels creating a link between the structure on the land and those wrecked at sea. The infill boxes create the mise-en-scènes that capture the experiences of the shipwrecks lost at sea. STRUCTURAL TOUCHSTONE Figure 39: Structural touchstone (author, 2021) The structural system is not overly complicated similar to the rudimentary fisherman cottage. The complexity lies in the material choices, detailing of internal elements and how openings are treated to allow in different types of light to create certain atmospheres. The materiality and con- struction methods are mostly derived and reinterpreted from structural elements in the region: 1. The sandstone foundation walls are inspired by the Southern Tip of Africa Icons low sandstone walls. 2. A braced timber structure relates to the raised timber boardwalks, the timber structure latch onto the foundation walls and supports the infill boxes that frame spaces. 3. The infill boxes use elements like the sandstone walls and thatch that are reinterpreted from the fisherman cottages. Thatch is used as walls rather than the traditional use which is as a roof covering. Timber is used as structural elements and possible floor coverings. The boxed explores different floor wall and roof interpretations and does not represent the morphology of the pro- posed structure. Initially, a double roof system was explored with the upper roof being a curved weathered steel roof that allows wind to pass through. This would however not work in the context as the winds are too strong. However, weathered steel as a possible material should still be considered as it relates to the Meisho Maru wreckage, even though it is not a material used in the vernacular style of the region. The construction touchstone, therefore, aids in translating theory into possible structural solu- tions, it is however only the initial reaction and can with the design explorations develop and change. Figure 40: Images of structural touchstone parts and details (author, 2021) Figure 41: Exploded view sketch of structural touchstone (author, 2021) 3231 APPLICATION Interpreting the quality of the prefigured scene served as the first reaction towards the com- plexities of the site. The touchstone serves as the link between the site and the project as it developed the essence which aims to celebrate the voice of the place caught between land and sea, linking the present with the memories of the past. The three concepts proved useful in developing a deeper conceptual understanding of the site. The common thread that links the concepts is narrative, as all of them explore ways to convey the existing narrative through re-ar- ticulating existing memories and events of the setting. How narrative is conveyed is constantly dual: man-made/nature, light/shadow and magical/real. Instead of choosing one concept, the concepts starts to merge under the bigger theme of narrative with each concept being a way that experience and stories are conveyed. Figure 42 on the adjacent page illustrates how the dual narrative, especially the idea of the duality between the magical and real, may take shape on site. The illustration starts connecting the concepts to the site serving as an initial concep- tual approach that organizes the site employing landscaping possibilities. Interpreting the landscape as a set of cinematic images together with the theme of narrative ex- tracted from the concepts lead to the main theoretical idea of architecture as cinematic spaces. Architecture can be used to frame and preserve experiences already existing in Cape Agulhas. Chapter two further explores the notion of architecture as a series of cinematic experiences that retells the narrative lost between land and sea. Figure 42: Conceptual application on site (author, 2021) 3433 SITUATING CONCEPTS and IDEAS Investigating and Interpreting Architecture as CINEMATIC SPACES CHAPTER TWO To successfully capture the latent narratives set out on site as visual and experiential stories, the role of architecture, as a series of cinematic spaces, is explored. In The Architecture of Image: Existential Space in Cinema (Pallasma, 2000: 17) Jean Nouvel declares cinematic imagery and experience as a significant inspiration for his architectural work: “Architecture exists, like cinema, in the dimension of time and movement. One conceives and reads a building in terms of sequences. To erect a building is to predict and seek effects of con- trast and linkage through which one passes.... In the continuous shot/sequence that a building is, the architect works with cuts and edits, framings and openings …. I like to work with a depth of field, reading space in terms of its thickness, hence the superimposition of different screens, planes legible from obligatory joints of passage which are to be found in all my buildings …..” Films use imagery - set out in a series of scenes - to convey different emotions concerning the bigger picture of the story. These scenes have specific elements that contribute to the success of the emotion it aims to evoke and the experience the narrative of the story wants to convey. The type of film sets the theme which gives a guideline to the type of experiences the cinematic scenes aims to convey. The key elements filmmakers use are divided into the categories of mise- en-scènes, cinematography, sound, and editing (Yale University, 2021: online). Mise-en-scènes, cinematography and editing are focused on together with lighting, shots and angles that fall under the categories as illustrated in figure 43. Interpreting these cinematic elements in existing architectural works further explores their val- ue in translating the past into meaningful experiences in the present. By investigating and inter- preting architecture as cinematic spaces an experiential language can be developed which can be applied to the Shipwreck Interpretation Centre. Figure 43: Diagram of cinematic elements (Author, 2021) 3635 Juhani Pallasma, Finnish architect and theorist, draws many parallels between cinema and architec- ture, both having moments of “embodied thinking and embodied memory and thought” (Koeck, 2013: 67). The human body becomes a site of memory that exists and responds to space and time (Koeck, 2013: 67) Both cinema and architecture are therefore part of human’s experienced spatial memory, which is stored in the archives of our minds (Koeck, 2013: 67). Pallasma states in The Thinking Hand: Existential and Embodied Wisdom in Architecture (2009: 114) ‘In the same way that cinema is a mode of cinematic thinking, painting as means of articulating painterly ideas, … architecture is a means of philosophizing about the world and human existence through the embodied material act of construc- tion’ Cinematic acts are typed according to the style and genre employed in the production of a film. The style and genre set the scene for space and time which allows for embodied memory and thought. Hellerman (2019: online) claims that there are three main film types: Realism, Classical and Formalism. Under the typology of realism, magical realism forms a subcategory, which I believe relates closest to this design project given that - in my interpretation - the prefigured scene contains magical elements bleeding into and with the reality of the present. Magical realism is a genre of fiction where magical elements are seamlessly integrated with elements of realism to create a deeper understanding of reality (Haeng, 2013: 8). The characteristics of magical realism in narratives, according to Haeng (2013: 9-10) includes: Fantastical elements: It is when characters are subjected to extraordinary and magical elements in their everyday life. This creates an idea of fantasy that is linked with the real. Hybridity: In magical realism, the plot is usually riddled with dualisms like dream and reality constantly mixing and changing worlds that almost seems to become one. Authorial reticence: This refers to the character never having a clear opinion of the accuracy of events unfolding. Time is never linear; past, present, and future constantly overlap to indicate how the characters experience it. This not only suggests the emotional state of the characters, but it also allows the readers to construct their reality based on the non-linear events unfolding. TYPE of FILM MAGICAL REALISM in the PREFIGURED SETTING THE MAGICAL EXPERIENCE When reinterpreting these forgotten narratives of the sea, a magical realist style comes into play. Ship- wreck may poetically appear as the ghost, projecting the past in the present, retelling other stories of other places and times in the now. These stories only hold fragments; partly factual and partly imagined by the viewer of the wreck. This blurs the line between the magical and the real. To fully represent and interpret all the individual shipwrecks stories becomes impossible. Creating ways to reinterpret these stories and events becomes important in the retelling of the narratives lost at sea. In the section below, I attempt to situate the magical experiences next to the real events, both in the larger site of Agulhas and the temporal experiences related to shipwrecks. This process allows me to find common magical experiences and real events, which I can employ to organize the program of the project and the difference between the interpretive pavilions, on the one hand, and the visitor Centre and larger site, on the other. By sorting the wreckages into three categories of tragic experiences: Heroism vs Suffering, Oppression vs Freedom and Survival vs Decay (figure 35-37) their stories can be reinterpreted by the viewer in a more immersive way. Each category is dual because it does not group the wreckages according to time periods, the origin of the ship, nationality or size. Each category, therefore, has a non-linear time line jumping around in time and place to repre- sent an experience. Each experience has un- derlying dualities, which relate to the concepts reacting on the prefigured setting, creating a complex rather than a singular experience. THE REAL EVENTS The categories represent tragic experiences of the different shipwreck events falling into the magical realm. To further deepen the narrative the real shipwrecks information is memorialized. This is achieved by grouping the wreckages names and dates in types of vessels it was. The types of vessels, interpreted in chapter 1, include motor, steam, sail- ing and fishing vessels. Not all the narratives of the Southern Tip of Africa shipwrecks are known and can be retold, but by remembering their names their memory is not forgotten. There is however still a magical element intertwined with the realness of the shipwreck memorial as the viewer jumps through times and places imagining possible shipwreck events that unfolded. Even though most of the shipwrecks are not visible anymore, visual clues can be lent from the types of ships they were. This allows the visitor to relate the names of the shipwrecks to a certain typology allowing the narrative to come to life. Another real element is the main hub of the Interpretation Centre. It orientates the visitors and has functions that serve the needs of the visitors like a reception, restaurant and toilets. These spaces are rooted in the site as it is centered in the present activities and almost becomes the gateway to the magical elements. 3837 1. 2. 3. . 1. Heroism versus Suffering This category includes all the shipwrecks that lost brave soldiers and passengers to the ocean. Their deaths were tragic even though they died due to heroic acts. These wreckages include HMS Birkenhead and Arniston wreckage (Flax, 2020: online). 2. Oppression versus Freedom This category includes all the slave ships that had an oppressive nature and innocent people needlessly died due to this oppression. These shipwrecks include Soa Jose Paquette and The Meermin (Moss n.d : online). The slave was set free by the ocean even though they did not sur- vive the ocean freed them from their oppres- sors. 3. Survival versus Decay This category encompasses all the wreckages whose crew and passengers all survived. This includes the Meisho Maru. Even though all the passengers survived the ship’s lifetime came to an end, left stranded on the coast or in the ocean to decay. CATEGORIES of TRAGIC EXPERIENCES Figure 44: Heroism vs Suffering (Author, 2021) Figure 45: Oppression vs Freedom (Author, 2021) Figure 46: Survival vs Decay (Author, 2021) a. c. b. d. TYPES of SHIPWRECK VESSELS a. Motor vessels: Motor vessels use engines to propel them for- ward and are therefore more solid compared to sailing vessels that use wind. The vertical ele- ments protruding from the main structure de- materializes the solid body of the vessel. b. Steam vessels: Steamships use steam for power. The cylinders where the smoke escapes become a point of hi- erarchy and symbolism in a steamship. c. Sailing vessels: The essence of a sailing vessel is the masts and sails. These elements are tectonic and create a rhythm on the ship. d. Fishing vessels: The most noticeable element of a fishing ves- sel is the pulley system to which the nets are connected to. On smaller fishing boats it takes shape in the form of a fishing rod and line. Figure 47: Motor vessel (Author, 2021) Figure 49: Sailing vessel (Author, 2021) Figure 48: Steam vessel (Author, 2021) Figure 5o: Fishing vessel (Author, 2021) 4039 Mise-en-scène means “placed on the stage” in French (Hellerman, 2019: online). Mise-en-scène functions as an organization element in cinematic arts, and by extension architecture, as it arranges elements on camera to convey meaning in a film. Decor and lighting form part of the Mise-en-scène, it creates the time and space in which the narrative takes place. Decor can be used to amplify the emotion or the experience the film wants to convey (Yale University, 2021: online). The decor can therefore transport the viewer into different times and spaces without actually being in the specific time or place. According to Vidler in The Explosion of Space: Architecture and the Filmic Imagery (1993:46-47) architecture does not only serve as décor but sets the scene by merging space and time to create a visual dialogue that supports the narrative. Architecture plays an important role in the Mise-en-scène (staging) of cinema, but architecture in itself can also become a stage that narrates lived space and preserves images of the past (Pallasma, 2000: 13). “ The dimension of the event is subsumed in the very structure of the architectural apparatus; sequence, open series, narrativity, the cinematic, dramaturgy, choreography. “ (Derrida, 1997: 325) This leads to the research question of the project: How can architecture employ a series of experiential cinematic scenes to interpret, frame and preserve shipwreck events? Reinterpreting, framing and narrating the tragic shipwreck events becomes important to the overall ex- perience of the Shipwreck Interpretation Centre. By creating architectural Mise-en-scène (figure 51), the viewers can be transported back into time to relive the tragedies caught between land and sea, preserv- ing the memories of those no longer here to narrate them. By extracting the essence of lighting, shots, angles and editing an experiential framework can be developed that can be translated to an architectural language. This architectural language can then be applied to the design of the scheme to effectively retell the magical and real shipwreck events. MISE-EN-SCÈNE Memories of PAST ARCHITECTURE As MISE-EN-SCÈNE Relived through ARCHITECTURE Figure 51: Interpretive sketch of architecture as a mise-en-scene (Author, 2021) 4241 The INFLUENCE LIGHTING has on the NARRATIVE Lighting is an important element in films as it not only creates ambiance in a scene but it also affects how images are perceived (Yale University, 2021: online). Different types of lighting have different emotional effects on the viewer. Film lighting and architectural lighting draw parallels as both histor- ically originated from the two primal light sources: daylight and fire (Poland, 2015: 14-22). “Lighting creates the environment for storytelling. The first lighting for storytelling was the fire” (Brown, 1996, 12). When firelight was not bright enough for the development of theatre daylight was used to enhance the narrative. With the development of electricity artificial light took the place of fire. Lighting be- came more advanced with techniques like high key, low key and key lighting to emphasize certain emotions and experiences. High key light creates a low contrast meaning effect. This type of light- ing is very neutral and can either create a sterile atmosphere or a peaceful atmosphere. Low key light creates a stronger contrast almost a chiaroscuro effect. This lighting creates a sense of drama and mystery. Key light places emphasis on the subject as the main source of light is placed on the subject (Dise, 2017: online). Lighting plays an important role in the prefigured setting of Cape Agulhas. The natural sun rays emphasize the decay of the rusting shipwreck, the glimmer in the sea and the dust rising from the fynbos-covered landscape. The artificial light of the Cape Agulhas Lighthouse creates a dramatic ef- fect when the light beam breaks the darkness of the night. It illuminates the feeling of the place and creates a cinematic atmosphere. Natural and artificial light may function as a tool in the develop- ment of the experiential spaces in the design. Interpreting the effects of artificial and natural light spatially design tools can be formulated that may be applied to the interiors of the Interpretation Centre to enhance the feeling of the space. ARTIFICIAL and NATURAL LIGHT illustrated in FILM and ARCHITECTURE THE PILLOW BOOK- Peter Greenaway (Film, 1996) The AFRIKAANS LANGUAGE MONUMENT- Jan van Wijk ( Paarl, Western Cape 1974) Natural Lighting: The Afrikaanse Language Monument in Paarl, West- ern Cape, celebrates the Afrikaans language and all its influences. Light is used symbolically in the monument especially in the spire reaching to the heavens. The spire represents the growth of the Afri- kaans language and is supported by openings that allow natural light to enter the spire. According to the architect Jan van Wijk:“At any time of the year, on any day, under any circumstances whatsoever, there is a display of light ...” (ATM, 2016: 21-22) The opening allow for a light display that changes throughout the day, it also strengthens the idea of Afrikaans as a “gleaming tool”. Light also emphasizes and softens the brutal materiality of the raw concrete (ATM, 2016: 21-22) Figure 52: Scene in The Pillow Book film depicting words projected on skin (The Pillow Book, 1996) Figure 53: Light falling into the spire (Author, 2021) Artificial Lighting: In the Romantic drama the Pillow Book the nar- rative is based on the idea of the main character Nagiko becoming the pages upon which words are calligraphed. Words as images con- stantly intertwine in the love story and acts as the main premise of the narrative (EFA, 2019: online). The director used artificial light as words projected on the flesh of Nagiko to give these words and act of calligraphy a three-dimensional form. The projections jump off the skin of the character and create a chiaroscuro effect that emphasiz- es drama and mystery. Artificial light as projection can therefore be used to create interactive spatial experiences where the viewer be- comes the canvas for the narrative not just the architectural space. 4443 CINEMATOGRAPHY Cinematography refers to the elements that play a role in the construction of different shots and scenes (Poland, 2015: 9). Cinematic elements that fall under cinematography include shots and angles. The dif- ferent types of shots and angles create different atmospheres in films. Shots and angles are ways to con- vey emotion and can be a very useful tool when applied to architecture. Shots frame what the director wants you to see and notice just like architecture frames a space or a landscape. The space from which these shots and angles are observed is equally important in the experience con- veyed. The dark space of the cinema creates a loss of awareness of physical cinema-place transporting the viewer into the space and time of the film ( Koerch, 2013: 62). The German philosopher, Martin Heidegger, argues that: “our thoughts about locations and spaces are not limited by geographical dis- tance” ( Koerch, 2013: 57). Thinking of a space seen in a film recalls the same sensation as thinking of a physical space (Koerch, 2013: 57). Heidegger explores the ‘essential nature of human existence in time and place’ through the themes of ‘place’ (Ort), ‘situatedness’ (Befindlichkeit), ‘nearness’ (Nähe), and ‘being there’ (Dasein) (Malpas, 2006: 224–25). These themes correlates with the cinematography as shots can also place, draw near and situate the viewer in a certain time and place as illustrated in figure 54. Dif- ferent types of shots include extreme long shot, full shot, medium shot, close up, over the shoulder and point-of-view shot (Dise, 2017: online). The angles of shots namely, eye level, high, low and oblique angle, further express the feeling of a scene. Cinematography allows the viewer to understand and experience a place and time without physically being there. Translating shots and angles towards physical architectural spaces in the Shipwreck Inter- pretation Centre may allow the visitor to experience the tragic shipwreck events without being in the specific time and place of the shipwreck event. PLACE and TIME nearness Place situatedness Figure 54: Cinematography illustrating the ideas of drawing near, situating and placing a person in a specific place and time (Author, 2021) 4645 The different EMOTIONS and EXPERIENCES SHOTS and ANGLES convey Extreme long or wide shot is used to show the subject matter from a distance. This shot is useful in establishing a scene in terms of the character’s relationship with the environment and also the time and place within which the event is situated. Full shots frame the subject, allowing the subject to be placed central to the context within the frame. This shot focuses more on movement than the character’s emotional connection to a place. Medium shots show the subject in more detail com- pared to the full shot. It is more zoomed in on the character while still showing the environment. Close-up shots focus on the subject as the subject fills the screen. Emphasis is placed on the char- acters reactions and emotions. Over the shoulder shot shows a view over the subject’s shoulder engaging with something or someone else. It emphasizes on the connection between two subjects. Point of view shot shows what the character is seeing from their point of view. It places the viewer in the character’s place showing their experience and emotions (Dise, 2017: online). Eye-level angle is taken from the human eye level creating a neutral steady effect. High angle is taken from above the human eye level resulting in the subject matter seeming weak, frightened or vulnerable. Low angle is taken from below eye level which can result in the subject looking dan- gerous, heroic or powerful. Oblique angle is when the camera is tilted resulting in an uneasy or disoriented effect (Dise, 2017: online). The architectural designs of architects like Peter Zumthor achieve a distinct sense of space that allows for sensory experiences (Koerch, 2013: 62). Zumthor’s designs act as a useful tool in under- standing how narratives and experiences can be translated into architectural space. The different types of shots and angles are illustrated in the architectural precedent Allemannjuvet Zinc Mine Museum in Suada Norway by architect Peter Zumthor to relate the cinematic tools spatially and experientially towards architectural elements. ALLMANNJUVET ZINC MINE MUSEUM - Peter Zumthor (Suada, Norway 2016) SHOTS illustrated in ARCHITECTURAL PRECEDENT Extreme long or wide shot: The wide shot shows the pavilions in relation to the Ravine, it almost sets the scene for the feeling the whole design captures. In the Zinc Mine Museum the pavilions mimic the environment through ma- teriality and the way they are raised like trees growing from the rocky soil. The structures are therefore rooted in place drawing and compli- menting the existing qualities. Figure 55: Wide shot of Zinc Mine Museum (Berntsen, 2016: online) Figure 56: Illustration of wide shot (Author, 2021) Figure 58: Illustration of full shot (Author, 2021) Figure 60: Illustration of medium shot (Author, 2021) Figure 57: Full shot of Zinc Mine Museum (Berntsen, 2016: online) Figure 59: Medium shot of Zinc Mine Museum (Berntsen, 2016: online) Full shot: One of the pavilions is shown in full from the walkway towards the pavilion. The shot shows how visitors move into the struc- ture and also from within through the window. The pavilion adapts to the soil conditions and climate through the use of a flexible wooden structure, therefore the shot also shows how the pavilion itself moves in the environment. The shot conveys the interactive nature of the pavilion within the landscape. Medium shot: By creating a singular stairwell leading up to the pavilion the viewer is forced to see the pavilion in more detail but still with- in the context of the natural landscape. It cre- ates a sense of drama as the viewer is about to move across the threshold between outside and inside. 4847 SHOTS illustrated in ARCHITECTURAL PRECEDENT Close up: The close up shot moves into the pavilion space of the mine museum space. Emphasis is placed on the interior of the pa- vilion and the information on the mining histo- ry. The viewer is immersed in the experience inside the space without the influence of the external environment. The close up shows the emotions and memories of the past. Over the shoulder: When exiting the museum building, an over the shoulder shot is shown. This shot shows how two of the pavilions are engaging with each other in the landscape. Even though the one is suspended in the air and the other is seemingly rooted they are still in dialogue with each other. This view creates a visual connection between the scattered pa- vilions. Point of view shot: This shot places the view- er in the shoes of the miners by including the mining instruments with views to the exterior where the miners mined for zinc. The viewer starts to become more immersed in the past as the pavilion transports them through time. ALLMANNJUVET ZINC MINE MUSEUM - Peter Zumthor ( Suada, Norway 2016) Figure 61: Close up of museum pavilion (Berntsen, 2016: online) Figure 62: Illustration of close up (Author, 2021) Figure 64: Illustration of point of view shot (Author, 2021) Figure 66: Illustration of over the shoulder shot (Author, 2021) Figure 63: Point of view shot (Berntsen, 2016: online) Figure 65: Over the shoulder shot (Berntsen, 2016: online) ANGLES illustrated in ARCHITECTURAL PRECEDENT High angle: The first three pa- vilions are suspended on a high angle compared to the Ravine below and eye level. By elevating the spaces the context becomes less intimidating as the viewers see the environment from the trees viewpoint. The high angle gives the idea of floating with- in the Ravine. Even though the angle makes the context less in- timidating there is still a sense of vertigo because the structure is not solidly rooted in the earth, it moves like a tree in the wind. Eye level: The interiors of the pavilions are on a more human scale compared to the exteriors of the structures. Because the design is placed in a very layered and sloped environment it be- comes important to create mo- ments of steadiness where the viewer can almost recenter and take a breather from the immer- sive landscape. There are how- ever few moments of steadiness as the spaces attempts to convey the experiences the miners had facing the danger of the tunnels. Oblique angle: Diagonal walls are used in the exhibition spaces to relate to the carved rock tunnels where the miners mined for Zinc. These skew angles create an al- most disorientating effect which relates to the feeling the viewer gets when they are standing next to the sloping sides of the Ravine or within the claustrophobic min- ing tunnels. These angles brings the exterior context and the ex- perience it conveys into the spac- es without being to direct. Low angle: The last pavilion is placed on the lowest point of the Ravine compared to the other three which is suspended. Un- like the other pavilions it is not an enclosed space but rather just a thin canopy held up by wooden columns. This angle emphasizes the power of the landscape and how the miners was almost op- pressed working in the tunnels in dangerous conditions. The viewers become exposed to the experiences and conditions the miners had to work in on a daily basis. ALLMANNJUVET ZINC MINE MUSEUM - Peter Zumthor ( Suada, Norway 2016) Figure 67: Illustration of high angle (Author, 2021) Figure 68: Illustration of eye level (Author, 2021) Figure 69: Illustration of oblique angle (Author, 2021) Figure 70: Illustration of low angle (Author, 2021) 5049 EDITING The editing of a film is where the different mise-en-scène and cinematography elements are com- piled to create a narrative: it therefore becomes the golden thread that ties all the emotions to- gether (Hellerman, 2019: online). When editing the shots together the way it is stitched enhances the narrative. It can either be fluid and linear or non- linear jumping through time (Hellerman, 2019: online). Editing in the cinematic context could relate to the idea of a promenade that relates to both cine- ma and architecture. In the cinematic context, the term promenade was used by film maker Sergei Eisenstein to describe a “synchronization of the senses” (Louw, 2016: 12-33). The architectural prom- enade can be defined as “interpretive experience in and through architectural space” (Laubscher 2015: 103). The concept of the architectural promenade is one of the main elements in the work of Swiss-French architect Le Corbusier (Penz, 2004: 42). In Vers une architecture, Le Corbusier sug- gests the idea of an architectural promenade when he says, “The architect therefore Assigns destinations to his axes” (Penz, 2004: 42). William Curtis states in Le Corbusier: ideas and forms (1986) that the ramp as an honorific path becomes the spine of the idea of the architectural promenade (Penz, 2004: 42). Le Corbusier relates this version of the promenade to Arab Archi- tecture (Penz, 2004: 42), expressing that: “Arab architecture teaches us a valuable lesson—it’s best appreciated on foot. Walking—you have to walk through a building with a changing viewpoint, to see the articulation of the building deployed.” (Le Corbusier, 1929: 24). The notion of the promenade acts as a catalyst that allows movement and interaction through dif- ferent spaces, events and perspectives, becoming a connector in architecture. As an editing device, the promenade may function as a connecting mechanism in the Shipwreck Interpretation Centre, linking different experiences, times and spaces together to configure one dynamic and immersive narrative. The act of editing, interpreted as a promenade, is illustrated in Le Corbusiers Le Sainte Baume scheme to analyze how the promenade can transport the viewer through different times and experiences. EDITING illustrated in ARCHITECTURAL PRECEDENT Scheme at LE SAINT BAUME - Le Corbusier (1945-1960) Le Corbusier drew inspiration from the Egyptian processional routes in the creation of the scheme of Le Saint Baume. The scheme in itself is a prom- enade through a mountain, shown in figure 71, that forms part of the Compagnons du Tour de France pilgrimage of the Masonic group (Louw, 2016: 12- 33). The scheme illustrated in figure 72 starts at stage 1 that is the pilgrimage towards the mountain. At stage 2, there is a moment of disorientation as the dweller moves from outside into the cave-like mountain. At stage 3 there is a “descent to the sources of sensation” where the dweller moves down into the mountain being cut off from the ex- terior surroundings (Louw, 2016: 12-33). At stage 4 the dweller ascends towards the exit out of the mountain. This is where reorientation takes place as the dweller starts to adapt to their surround- ings. At stage 5 enlightenment takes place as the dweller becomes re-aware of present as they exit the other side of the mountain with views of the horizon and sea (Louw, 2016: 12-33). The scheme was designed to remove the dwell- er from the present to transport them to another time. The maze-like promenade design uses nar- rative, manipulation of light and different levels to disorientate and remove present time (Louw, 2016: 12-33). Figure 71: Sketch by Le Corbusier (Louw, 2016: 12-33) Figure 72: Illustration scheme at Le Saint Baume (Author, 2021) 5251 Figure 73 on the adjacent page illustrates how cinematic experiences is translated into an architectural lan- guage. This language is used to inform the design of the Shipwreck Interpretation Centre. Application to the “MAGICAL” spaces: The architectural promenade, which can be a zig-zagged walkway in the landscape, stitches the different pavilions (mise-en-scenes) together that symbolize the categories of tragic experiences. The promenade takes the viewers on a visual journey that uses different shots (i-iv) to convey the different experiences: i. Wide shot- used to set the scene showing the Interpretation Center’s relationship to the place and ship- wreck. ii. Full and Medium shots- These shots are used on the promenade towards each pavilion focusing on the specific mise-en-scène and how it reacts to the environment and movement. iii.Close up and Point of view shots- In the interiors of the pavilions these shots are used to articulate the experiences and emotions of the tragic shipwreck events. It takes the viewer across time and space to- wards the shipwreck experience, creating a space of interpretation and deeper understanding of the past. Merging the present with elements of the past strengthens the idea of magical realism. Different angles and light can be utilized to convey these experiences: 1. Heroism vs Suffering: Natural light can emphasize as it makes the viewer look up creating a low angle that makes the object look heroic. Artificial light can be used to shine down on the viewer projecting images below eye level creating a high angle that makes the images look vulnerable referring to the tragedies. 2. Oppression vs Freedom: Oblique angle can be used to emphasize oppression by using slanted walls cre- ating an uneasy effect. Light entering from above can symbolize freedom from oppressive circumstances. 3. Survival vs. Decay: Openings on eye level that overlooks the landscape can convey the experience of survival as it creates a steady and rooted effect. Decay can be symbolized by weathered steel as it suggests the passage of time, which can be emphasized by key light. iv. An over-the-shoulder shot can be used at the end of the journey as the viewer can reflect and see the interaction between the Interpretation Centre and the Shipwreck. APPLICATION Figure 73: Possible application of theoretical principles to pavilion spaces (Author, 2021) 5453 Application to the “REAL” spaces: Figure 74 on the adjacent page illustrated how the cinematic tools could possibly be translated in the real spaces. The Main Hub and memorial structures may also function as mise-en-scène, conveying different narratives through which the viewers move to comprehend more of different shipwreck events. The ar- chitectural promenade stitches together the Main Hub of the Interpretation Centre and the memorial spaces. This promenade contradicts the regularity of the Main Hub and memorial spaces, and follows the irregular pattern of the natural contours. This irregular patterned promenade could emphasize the magical and real split on site. Where the interaction between the magical and the real becomes very important, vertical circulation spaces (elevators) and pause spaces can be used to articulate this con- nection while creating different angles and views. The magical and real come together to tell the tragic shipwreck events, emplacing the viewer in another time where they can relive these events. The main hub can take design clues from specific site and the narratives it holds. By sinking the structure into the ground a connection can be made to Meisho Maru shipwreck as it is also partially underwater and rooted to the site. Light shafts could be used to bring in natural light. The light shafts further relate to the limestone outcrops as well as the shipwreck is still visible above water. Wide shot view of the ship- wreck can be used in the placement of the main orientation spaces. This allows a view of the shipwreck caught between land and sea, making the visitor aware of the narrative of the place. The fishing vessel monument can be located close to Meisho Maru Shipwreck as it is also a fishing vessel shipwreck. An over-the-shoulder view can be used to visually narrate the dialogue between the memo- rial, Meisho Maru and the ocean. Figure 74: Possible application of theoretical principles to pavilion spaces (Author, 2021) 5655 Investigating the TYPOLOGY, MORPHOLOGY and TOPOLOGY Analyzing ENVIRONMENT, FUNCTION and PRECEDENTS CHAPTER THREE This chapter builds on the conceptual interpretations done in chapter 1 and 2 to develop a more detailed understanding of how the conceptual and theoretical ideas ties into the program, site, design and structural solutions. This chapter expands on the brief and program concerning the in- terpretations done in chapters 1 and 2. A deeper understanding of the site macro, mezzo and micro influences are gained to create appropriate structural solutions that merge the context, function and theory. Precedents studies are also analyzed to investigate possible functions, materials, struc- tural systems and spatial qualities towards the final design proposal. 5857 SITE ANALYSIS Figure 75: Macro site analysis (author, 2021) According to Government Notice R544 of 18 June 2010 listing notice 1 activity 16: Construction or earth moving activities in the sea, an estuary, or with- in the littoral active zone or a distance of 100 meters inland of the high-water mark of the sea or an estuary, whichever is the greater, in respect of: i) fixed or floating jetties and slipways, ii) tidal pools, iii) embankments, iv) rock revetments or stabilizing structures including stabilizing walls, v) buildings of 50 square meters or more, or vi) infrastructure covering 50 square meters or more (Enviro, 2012: online) REGULATIONS impact on LOCATION OF MAIN FOOTPRINT The main footprint of the site is therefore situated on the other side of the R319 road to comply with the regulation. Figure 76: Sketch showing 100m mark on site (author, 2021) Figure 77: Site section indicating possible site (author, 2021) 6059 The coastal plain of Agulhas is essentially cov- ered by calcareous sands of the Tertiary age. The site is situated in the coastal mountains of Cape Agulhas, the soil of this area is Cape Fold Belt sandstone which is capped in some areas by limestone (San Parks, 2020: 16-26). These types of rocks are very porous and cannot be used as structural elements, it can however be combined with structural concrete to form structural walls. Limestone rocks Limestone fynbos and Overberg Dune Strandveld FLORA The park has nine vegetation types with four classified as high conservation status: +Central Rûens shale renosterveld (critically en dangered); +Elim ferricrete fynbos (endangered); +Agulhas sand fynbos (vulnerable); +Cape inland salt pans (vulnerable); +Agulhas limestone fynbos (least threatened); +Cape lowland freshwater; +Cape seashore vegetation (least threatened); + Overberg dune strandveld (least threatened); + Overberg sandstone fynbos (least threatened). (San Parks, 2020: 16-26). The area in which the site is situated con- sists mostly out of Agulhas Limestone Fynbos and Overberg Dune Strandveld. These two vegetation types falls under the least threatened species but it should still be protected and respected in the design. SOIL CONDITIONS Figure 81: Mezzo and micro analysis of site (Google earth, 2021: online. Adapted by author) Figure 78: Section of Cape Fold Belt sandstone soil (Author, 2021) Figure 79: Existing hiking trail (Author, 2021) Figure 80: Fynbos on site (Author, 2021) CLIMATE The area has a Mediterranean climate with warm summers and cold winters (San Parks, 2020: 16-26). Figure 82 shows the maximum and minimum temperatures throughout the year. Figure 82 indicates the average precipi- tation in millimeters per month throughout the year (Meteoblue, 2021: online). The proposed structure and design should take into account the strong winds and the im- pact it has on the experience of spaces. Using both sheltered and exposed spaces in the de- sign can aid the dual narratives of the design as it plays on the idea of safety versus being exposed. Cape Agulhas is very windy especially along the coast line with winds almost all year round (San Parks, 2020: 16-26). The predominant wind direction, as indicated in the wind rose figure 83 is from the East and West direction. Figure 82: Monthly temperature and precipitation table (Meteoblue, 2021: online. Adapted by author) Figure 83: Wind rose of Cape Agulhas winds (Meteoblue, 2021: online. Adapted by author) 6261 CLIENT and USER Figure 84: Rasperpunt Hiking trail (Author, 2021) South African National Park is responsible for managing South Africa’s National Parks, in the case of Agulhas it manages Agulhas National Park. SAN Park own 19 parks to date since they formed in 1926. Agulhas National Park was established on 14 September 1998 by SAN Parks. The mission statement of SAN parks for Agulhas National park: “To implement and promote the conservation and sustainable use of the globally unique terrestrial, freshwater and marine biodiversity and cultural heritage of the Agulhas Plain. Building on the spirit of place of the Southernmost Tip of Africa, to unlock benefits together with local communities, now and in the future” (San Parks, 2020: 16-26). The Shipwreck Interpretation Centre forms part of this mission as it promotes the conservation of the cultural heritage of Agulhas Plain whilst building on the spirit of the place. Conservation of the terrestri- al and marine biodiversity does not form part of the scope of the pro- gram, but it still plays an important part in the design consideration as they should be treated with respect. The intended users are locals and tourists who want to learn more about the rich history of the Southern Tip of Africa Shipwrecks to- gether with hikers that want to explore the beautiful Agulhas Plain. BRIEF and PROGRAM development The brief is to create a Shipwreck Interpretation Centre that accommodates SAN Park administrative functions to create an important link between the Site and the Park. The brief builds on the narratives of the shipwrecks and expands the hiking and SAN Park amenities. The real experiences are based on the present events which include the visitor orientation spaces that include the information, gathering, service and SAN Park administrative spaces. The real experiences also include the outdoor shipwreck memorial that gives information on the Southern Tip of Africa Ship- wrecks according to Name (Date wrecked) | Nation | Area wrecked. The magical experiences are based on the tragic shipwreck events categorized in chapter 2. These spaces include enclosed and outdoor public spaces that narrate the shipwreck events and pay homage to those lost at sea. The circulation spaces edit the magical and real narratives together through walkways, stairs, bridges and elevators that create vertical and horizontal movement. Figure 85: Meisho Maru Shipwreck (Author, 2021) 6463 Main Orientation Hub: PUBLIC: -Reception for information on Park, shipwreck interpretation pavilions and hiking trails permits. -Restaurant -Toilet facilities -Lockers for hikers -Outdoor amphitheater seating - Roof garden and lookout point -Parking STAFF: - SAN park office -Staff ablution -Locker rooms for kitchen staff with dressing room and washer and dryer -Kitchen -Staff lounge - Delivery yard -Staff parking - Storage facilities for outdoor equip- ment and solar power batteries -Grey water system in service yard Main Orientation hub: Reception: Toilet facilities: Toilets Locker rooms Storage Service ducts Restaurant: Restaurant seating indoor Amphitheater seating Kitchen Coffee bar Circulation and waiting areas Roof garden walkway and lookout Staff facilities: Staff lounge Toilet Managers office Staff lockers and dressing room Storage for outdoor equipment 40m² 55m² 21m² 17m² 18m² 155m² 142m² 76m² 22m² 172m² 33m² 40m² 5m² 15m² 15m² 10m² Figure 86: Program diagram (Author, 2021) ACCOMMODATION LIST 74m² 74m² 110m² 230m² 4m² 9m² 8m² 50m² 1395m² Shipwreck Interpretation Pavilions: Enclosed PUBLIC spaces: Interpretive spaces that narrates shipwreck events through different experiences: +Heroism vs Suffering +Oppression vs Freedom + Survival vs Decay Memorial Garden: Outdoor PUBLIC spaces: -Structures in the landscape as monuments to the forgotten shipwrecks: +Motor vessel shipwrecks + Steam vessel shipwrecks + Sailing vessel shipwrecks + Fishing vessel shipwrecks= ode to Meisho Maru CIRCULATION Bridging and editing together different times and spaces through horizontal and vertical movement - Sandstone walkways and raised timber boardwalks connecting different functions and spaces. - Bridges and elevators to allow access within the scheme. Experiential pavilions: Heroism vs Suffering Oppression vs Freedom Survival vs Decay Circulation, seating and waiting areas connecting experiential pavilions Memorial garden: Motor vessel monument Steam vessel monument Sailing vessel monument Fishing vessel monument Memorial garden route Landscaping Parking Total area (excluding area of landscaping, parking and memorial garden route) . 6665 MAPUNGUBWE INTERPRETATION CENTRE- Peter Rich Architects ( South Africa) The Interpretation Centre is located in Mapun- gupwe on South Africa’s northern border with Botswana and Zimbabwe (Baan, 2010: online). It houses the rich cultural history of the region together with tourist facilities and SAN Park Headquarters (Baan, 2010: online). The build- ing type and client is therefore similar and can be interpreted to supplement the design pro- cess and thinking. The functions of the building as illustrated in fig- ure 87 includes a reception, restaurant, ablution facilities, exhibition and SAN Park offices. The SAN Park headquarters are separate from the main building dividing public and private. ‘Delicate walkways create a zigzagging ramped route through the complex, through exhibition spaces, gently climbing the mesa to the high- est point on the site, providing the visitor with a multiplicity of experiences and views, evoking the complex social interactions of the many cul- tures that have traversed the land.’ (Rich, 2009: online) Space on plan: 1. Pedestrian arrival/departure 2. Arrival landing 3. Bridge 4. Reception 5. Outdoor Court 6. Ablutions 7. Restaurant 8. Craft Shop 9. Floating walkway 10. Main vaulted exhibition space 11. East cairn 12. West cairn 13. Teaching and Learning 14. Mesa walkway access 15. Return route 16. External teaching 17. Game drive drop off 18. SAN Parks headquarters Figure 87: Plan of Mapungupwe Interpretation Centre (Rich, 2009: online) APPLICATION TO DESIGN The exhibition space shown in figure 88-90 uses water ponds to reflect light into the dome spaces. This enhances the atmosphere in the spaces and articulates the objects on display. - The functional program can inform the different spaces in the design as it is also SAN Parks owned. - Creating zig-zigged ramped walkways creates an architectural promenade that connects spaces and emphasizes different views and moments in the design which links to the theory of editing different shots together. - Using water and reflection ponds as a way to redirect and reflect natural light which links with the theory of light that enhances spaces and the narrative. - The use of local and natural materials creates an architectural language that blends into the natural environment. - Following the slope of the site to integrate with the environment. Figure 90: Section of Mapungupwe Interpretation Centre (Rich, 2009 : online) Figure 89: Sectional diagram of vaulted exhibition space (Author, 2021) Figure 88: Water features that reflect light into the spaces (Baan, 2010: online) 6867 The precedent was partly analyzed in chapter 2 where it was used to illustrate shots and angles in an architectural example. The precedent further relates to the typology and possible structural system of the project. The Norwegian Public Roads Administrators commissioned Peter Zumthor in 2002 to design a museum that welcomes visitors to the old mine in Sauda that fell into disuse. The Museum is inspired by the history of the mining operations and the daily lives of the miners in Sauda. The zinc museum’s functions include a mining gallery, a mining café, a staging area, toilets and parking facilities and a path that connects all the functions (Berntsen, 2016: online). ALLMANNJUVET ZINC MINE MUSEUM - Peter Zumthor ( Suada, Norway 2016) Figure 91: Mining Cafe (Berntsen, 2016: online) Figure 92: Mining Museum (Berntsen, 2016: online) Figure 93: Staging area (Berntsen, 2016: online) Figure 95: Perspective of the museum in the context (Berntsen, 2016: online) Figure 94: Plan showing functions (Berntsen, 2016: online) - Using separated pavilions connected by a path that links the different functions together to form a narrative. - Structure of the pavilions that are more tectonic raised from the ground and latched onto stone retaining walls. ROOF: The structure of the roof becomes an extension of the cross- braced scaffolding system. The roof structure is clad in corru- gated zinc sheets. The materiality of the roof therefore ties in with the zinc mines of the area (Saiello, 2018: online). INFILL BOXES: The solid infill boxes is held up by die scaffolding and is in con- trast with the lightness of the cross-braced structure. The box’s exterior walls are made out of 18 mm plywood sheets and jute burlap, coated with a German acrylic material (PMMA). The interiors are painted black to resemble a gallery (Berntsen, 2016: online). SCAFFOLDING: The cross-braced scaffolding structure just like the rest of the structure was prefabricated and assembled on site. The scaf- folding is made out of creosote pressure impregnated Nordic pine glulam. The Nordic pine is fixed together with hot dipped galvanized steel nuts and bolts (Saiello, 2018: online). FOUNDATIONS: The foundations are fixed to the existing rocky ridge using hot- dip galvanized steel footings that support the cross braced scaf- folding structure. The foundations of the toilets are a dry stone masonry retaining wall (Saiello, 2018: online). Figure 96: Structural drawing (Turkevych, 2020: online) APPLICATION TO DESIGN 7069 SKIN OVER REED - Armin Kammer, Anke Wollbrink and architecture students of University of Stuttgart ( Vorarlberg, Austria, Europe 2019) The hut investigates alternative skins of Alpine architecture which is usually clad with stone, concrete, wood or metal. Thatch is used as a renewable alternative that is similar to concrete but much more sus- tainable. Thatch used in a modern way to clad the roof and walls that creates a wrap around effect (Dezeen, 2019: online). The 3,5x6x4m high wooden substructure was made in a workshop of site by carpenters. The prefabricated substructure was then flown to the mountains by helicopter and placed on site (Kammer, 2019: on- line). After the structure was placed on site it was clad in short stem reed that took less than two weeks (Kammer, 2019: online). - Links with the vernacular use of thatch roof but it can extend to the roof and wall coverings of the pavilion structures creating a more con- temporary application. The materiality adds to the narrative of place as it celebrates the history of Agulhas. - Using thatch incorporates local materials and uses local laborers to construct the pavilions creating job opportunities. - The pavilion structures frameworks can be prefabricated and placed on site ready to be thatched minimizing on site construction. - The use of thatch facades creates structures that blend in with the fynbos surrounding allowing for a more sensitive design. Figure 97: Skin over reed hut (Kammer, 2019: online) Figure 98: Cladding process (Kammer, 2019: online) Figure 99: Prefabricated structure (author, 2021) APPLICATION TO DESIGN LA RAMPINYA ELEVATOR - Santamaria Architects ( Sallent, Spain 2018) - Vertical connector that links the different pavilions and emphasizing the verticality of the hillside, whilst creating viewpoints towards the Meisho Maru shipwreck. - Allow universal access to those not able to use the stairs connecting the pavilions. - The mechanical nature of an elevator can become a memorial structure to the motor vessel shipwrecks, with weathered steel information panels fixed to the motor-driven el- evator. The Rampinya neighbourhood located in the municipality of Sallent is 17m above the ac- cess road to the village (Ott, n.d: online). Santamaria architects designed a public elevator to create as a visual and physical connection between the different levels and neighbour- hoods. The corten steel clad elevator structure has a glass facade together with the plat- form on the level of the Rampinya neighbourhood. This creates viewpoints towards the village and the river. Figure 100: Section of the lift (author, 2021) Figure 101: Top part of lift shaft (Plana, 2019: online) Figure 102: Lower structure of lift (Plana, 2019: online) APPLICATION TO DESIGN 7271 HAKKA INDENTURE MUSEUM - DNA Architects ( Lishui, China 2017) 1. Entrance 2. Exhibition room 3.Exterior Activity space 4. Exit The Hakka Indenture Museum was built to commemorate the story of the village of Shicang (Wong, 2018: online). The name Shicang can be translated to “stone storage” which refers to a legend in the area. The architects used local construction and materials to form thick stone lattice walls to create exhibition spaces that merge the internal and external environment (Wong, 2018: online). The museum nestles itself into the landscape linking the village with the natural environment. The existing irrigation channel was rerouted over the roof to provide water to the planted roof which sometimes flows into the internal spaces creating a design feature. Linear roof opening allows in nat- ural light that emphasizes the water feature and the exhibition spac- es (Wong, 2018: online). The natural elements flow into the internal spaces. Figure 104: Plan of Museum (Wong, 2018: online) Figure 103: Museum becoming the buffer between the village and the natural surroundings (Wong, 2018: online) APPLICATION TO DESIGN Figure 106: Waterfall feature flowing in from roof opening (Wong, 2018: online) - The way the building sits on the site rooted in the hill with planted roofs and thick stone walls which can influence the Main Orientation hub structure and morphology. - The building becomes an extension of the terraced vegetation on the hill, the ori- entation Hub structure can do the same through the roof becoming an extension of the fynbos blanket covering the limestone hill. - Linear openings and other forms of light shafts can be used in the design to draw in natural light illuminating certain elements in the design. - The water channel that catches rainwater and water from the irrigation system can be used in the experiential pavilion spaces that are more exposed to the nat- ural elements. It can be used to divert storm water from the steep slope and to create a water feature. Water plays an important role in the area due to the close proximity to the sea, making water elements appropriate.Figure 105: Natural light flowing into the exhibition space from opening in planted roof (Author, 2021) 7473 CHEMIN DES CARRIERES - Reiulf Ramstad Architects ( Rosheim, France 2019) Figure 107: Five chapters of sequences of landscapes along a 11km route (Pintos, 2021: online. Adapted by author) The design consisting out of pavilion structures that follows a 11km trail through the rural villages and landscapes of Rosheim, France. The design is split into 5 chapters that signify sequences of land- scapes on the old Rosheim to St Nabor railway stops (Frearson, 2019: online). Each chapter builds on the peculiarities of place emphasizing the narrative of the past to draw the visitor back in time (Frearson, 2019: online). 1. Rosheim, the beginning of the walk, tells the story of the past. The structure of curved corten steel walls becomes a space of lab- yrinth reflection framing views with seating areas where the visitor can contemplate the past (Pintos, 2021: online). Reiulf Ramstad Ar- chitects stated that “The pavilion has a laby- rinthine character and play with an irregular concave and convex interior,” (Frearson, 2019: online). The train track’s footprints are con- served as an ode to the past. 2. Boerch tells the story of water. The seating pavilion, looking out onto the river, that is a dynamic feature in the region (Frearson, 2019: online). 3. Leonardsau narrates the story of the land with two angular corten steel panels becoming the gateway to the open landscape (Frearson, 2019: online). 4. Ottrot tells the story of travel. The pavilion retells the history of the train station by emphasizing elements like the pump, bridge and crane (Frearson, 2019: online). It combines heritage elements with new structures to commemorate the past. 5. Saint- Nabor the last stop on the journey tells the story of luck. A corten steel platform built on the hillside accessed by a staircase creates a viewpoint over Rosheim (Pintos, 2021: online). Reiulf Rams- tad Architects stated that “from this viewpoint inspired by a four-leaf clover, the visitor will feel lucky to enjoy the view of such a beautiful territory,” (Frearson, 2019: online) Figure 108: Saint Nabor pavilion (Pintos, 2021: online) APPLICATION TO DESIGN - The consideration for the particularities of place in the structures can inform the memorial garden structures narratives that they build on the specific shipwrecks they represent. - Moulded corten steel panels can be used in the memorial structures as corten steel correlates with the passing of time and the Meisho Maru Shipwrecks materiality. - The curved corten steel panels of Rosheim labyrinth can possibly in- form the steam ship memorial structures as the curved corten plates resemble the cylinders of steam ships. - The use of corten steel exterior plates with wooden paneling on the inside of the seating structures can inform the bridge structures in the design. - Framing the natural landscape with openings and strong geometries can be applied to the design to frame and capture certain moments in the landscape. - The idea of a viewpoint at the end of the journey reflecting on the narrative and route can be considered in the design. This can make the visitor aware of the connection between the land, the Shipwreck Interpretation Centre, the sea and Meisho Maru Shipwreck. - The way movement is seen as a device to transport the viewer through different times and places effectively, connecting the different architectural moments and narratives can be a useful tool in the proposed design. It refers back to the idea of an architectural promenade that edits different scenes and spaces together to form a spatial narrative. 1. 2. 3. 4. 5. 7675 CONCLUSION The site, theory, function and structure was investigated and interpreted throughout chapters 1 towards chapter 3 to create possible design tools. The site analysis creates a better understanding of the com- plexities and spatial qualities of the site which in turn informed the theoretical approach and function of the Shipwreck Interpretation Centre. The theoretical investigation developed an architectural language that builds on the cinematic principles to create spaces that retell the forgotten shipwreck narratives. The precedent analysis done in chapters 2 and 3 created a better understanding on functional and struc- tural aspects and how to integrate the theory in architectural spaces. The knowledge gained in chapters 1-3 will now be applied in chapter 4 where the design of the Shipwreck Interpretation Centre is devel- oped from the initial stages towards the final design. Figure 109: Chapters 1 to 3 coming together towards the design synthesis in chapter 4 (author, 2021) 7877 Retelling Shipwreck EVENTS through ARCHITECTURAL scenes Developing experiential MISE-EN-SCÈNES edited together through the narrative of Cape Agulhas CHAPTER FOUR This chapter builds on chapters 1 to 3 to come to a design synthesis. The design development of the Shipwreck Interpretation Centre is illustrated in the chapter indicating how the place, function and theory influenced the design decisions from the initial thoughts towards the final proposed designs. A technical investigation further explores the different influences that shaped the design to create a Shipwreck Interpretation Centre that collects and retells tragic shipwreck events through fragments of architectural mise-en-scènes. Figure 110: Image from hill overlooking the site with Meisho Maru no.38 in the distance (author, 2021) 8079 SCHEME 1 DEVELOPMENT: The first scheme serves as an initial re- sponse to the site. The main structures are scattered across the gravel road working with the contours. Paths connect the al- most floating spaces to each other and the shipwreck in a very geometric way. The design scheme was developed in three phases, responding to the specific site, environment, function and theoretical discourse discussed in the previous chapters. The phases are: SCHEME 2 DEVELOPMENT: Scheme 2 starts integrating the theoretical discourse. A linear axis connects the ship- wreck with the existing hiking trail where the smaller pavilion spaces (magical) form. A semi-circle that is more organic follows the contours and connects the larger ori- entation spaces (real) closer to the gravel road. The orientation spaces extend to- wards the west with strong linear lines. SCHEME 3 DEVELOPMENT: Scheme 3 builds on scheme 2 develop- ing the circular datum and the linear axis. The linear axis zigzagged reacting to the site. While the circular shape relates to the Southern Tip of Africa Icon’s sensitive circu- lar landscaping. This phase developed into the final design proposal integrating site, function and theory. DESIGN DEVELOPMENT Figure 111: Scheme 1 diagram (Author, 2021) Figure 112: Scheme 2 diagram (Author, 2021) Figure 113: Scheme 3 diagram (Author, 2021) The site plan in figure 115 indicates the initial development of the mass- ing and placement of spaces on the site. Figure 114 starts developing possible roof structures for these spaces reacting to the environment. Roof structures #1 and #2 are curved double structures that latch onto the main structure of the spaces. These roof structures do not suit the climate and vernacular of place. This resulted in roof #3 which, is a modern take on the thatch roofs of the fisherman’s cottages. The roof system wrap around to form the walls creating a thatched asymmet- rical pitched structure. This roof system and materiality relates to the vernacular architecture of Cape