House of Memory
for thE forgottEN NArrAtIvEs of
T H A B A
’ N C H U
voIcINg & trAcINg dIffErENt NArrAtIvEs through thE ExpLorAtIoN of pLAcE
NINA NEL 2011008576

This dissertation is submitted in partial fulfillment of the re-
quirements for the degree M.Arch.(Prof). The research in this 
document is my own independent work, unless stated other-
wise.
Department of Architecture, Faculty of Natural and Agricultur-
al Sciences, University of the Free State.
Nina Nel | 2011008576 | nel.nina@gmail.com
Declaration of original authorship:
The work contained in this dissertation has not been previous-
ly submitted at this or any other institution of higher educa-
tion. To the best of my knowledge, this dissertation  does not 
contain material that has been previously published or written 
by another person except where due reference is made.
Acknowledgmens:
Prof J. D. Smit; H. B. Pretorius; H. Raubenheimer and J. I. Olivier 
for their expert advice and guidance 
Dr H. Auret, Ms W. Verster and Dr W. Stone for proof-reading 
and editing
Piere, Diana and De Villiers Nel; Petri Claassen for their contin-
ued support
“As each one has received a gift, minister it to one another, as 
good stewards of the manifold grace of God.” 1 Peter 4:10
Life is but memories unborn
 
The world revolves
Like a cranium
On the neck of time
We remember; we forget
Then we die
Hoping to become eternal 
Memories yet unborn.
 
Between the begetting
And the forgetting,
In memory lies life.
-D. S Semabia, Barolong-
 
p r E A m b L E
CReATe THe NeW OuT Of THe DAMAGeD OlD
A House of Memory for Thaba ‘Nchu, Free State
he Department of Arts and Culture, in collab- which they could not identify. The search for a forgot-
Toration with the National Museum of Bloem- ten identity by the younger generation has fueled the fontein’s anthropology sector requires a house search for the history of Thaba ‘Nchu, i.e.- who settled of memory committed to the resurgence of there, what the prominent cultures were, how the peo-
Thaba ‘Nchu that will store and exhibit collected oral ple lived, and the voice of Thaba ‘Nchu that provides 
history from the 49 villages around Thaba ‘Nchu. The those who live in the settlement with an identity. In or-
memory house will protect and conserve historical doc- der for the place to be re-remembered, a relationship 
uments gathered by the community (currently stored between the demands of modern life in Thaba ‘Nchu 
in the traditional council building) and give members and its diverse past may be established, to revive that 
of the public access to these documents through exhi- which has died, to become an all-inclusive environ-
bitions and audio visual material. ment where (in terms of Norberg-Schulz, 1985) public, 
collective and private dwelling can take place. 
Ultimately, the House of Memory will serve as a mech-
anism that brings together traces of different narra- The House of memory will remember Thaba ‘Nchu by 
tives of those who live or have lived in Thaba ‘Nchu. means of analysis of its social rituals, and existing ar-
The museum will also be the first to commemorate the chitectural spaces,- and their tectonics, and re-inter-
Barolong tribe, specifically the Barolong boo-Seleka. preting them into inclusive spaces that are relevant to 
In addition, the project requires offices with record- the present place, and which may aid in restoring its 
ing facilities, research space and space to store the voice. In this regard, the proposed project will attempt 
recordings of the forgotten stories of ordinary people to bring about a sense of permanence to a region in 
including their experiences of how Apartheid or colo- which everything appears to be transitory and fragile, 
nialism affected them, which will either be exhibited in and offer the community of Thaba ‘Nchu much-need-
the museum or stored digitally in the archive. ed social and educational resources pertaining to its 
history, as well as provide a space for anthropologists 
Presently, the voice of Thaba ‘Nchu has been forgotten in which to gain knowledge with regard to the people 
as a result of the effects of colonialism and the apart- living in the place.
heid regime which led to the forceful removal of peo-
ple from a place they called home into a space with 
t A b L E   o f   c o N t E N t s 
Introduction                                   i
Voicing the Historic Narrative      iii
Timeline         x
Research Methodology       xiv 
 
1 2 3 4 
1.1 TypOLOgy 2.1 INTeRVIeWS 
1.1.1. Client and users  
1.1.2. Initial brief  2.2 TOUcHSTONe 
1.1.3. Problem statement  
1.1.4. Aims 2.3 cONcepTUAL IDeAS 
 
1.2 TOpOLOgy 2.4cONcepTUAL FRAMeWORk 
1.2.1. Problem statement  
1.2.2. Aims 2.5 TypOLOgy 
 2.5.1 Investigating the client and user 
1.3 MORpHOLOgy 2.5.2 Exploring similar building-types 
1.3.1. Problem statement 2.5.2.1  Apartheid Museum
1.3.2. Aims 2.5.2.2 Jean- Marie Tjibaou Cultural Centre
2.5.2.3 Nelson Mandela Youth & Heritage Centre
1.4 TecTONIcS
1.4.1. Problem statement  2.6 TOpOLOgy  
1.4.2. Aims Quantitative site analysis 
Cognitive/qualitative site analysis
2.7 MORpHOLOgy  
2.7.1 Morphological precedent 
2.7.2 Literary Discourse: Voicing & tracing different 
narratives through the exploration of place
2.7.3 Towards an accommodation list
2.7.4 Accommodation list
2.8 TecTONIcS 
2.8.1 Structural concept exploration 
2.8.2 Building requirements
2.8.3 Tectonic precedent study
2.9 DeSIgN MeTHODOLOgy
1 2 3 4 
3.1. DeSIgN SyNTHeSIS 4.1 ReFLecTION AND eVALUATION
3.2 INITIAL DeSIgN IDeAS 4.2 ReFeReNce LIST
3.3 DeVIATINg FROM THe INITIAL De-
SIgN IDeAS
3.4 Re-INTeRpReTINg THe INITIAL De-
SIgN IDeAS
3.5 URBAN DeSIgN DeVeLOpMeNT
3.6 TecHNIcAL INVeSTIgATION
3.7 LIgHT STUDy: MeMORIAL
3.8 SpATIAL ReqUIReMeNT INVeSTIgATION
3.9 TOWARDS A DeSIgN pROpOSAL
3.10 TecHNIcAL ReSOLUTION: 
Documentation APPENDIX A
I N t r o d u c t I o N
BLoEMFoNTEIN
SANNASPoS
THABA ‘NCHU
SITe
N BoTSHABELo
FIgUrE 1: Thaba ‘Nchu located East of Bloemfontein. Drawing 
derived from google maps (2016)
During the course of my architectural studies at the order to  visualise a unique approach to the design of 
university of the free State, I became increasingly the House of Memory, as a museum and archive.
interested in ruined structures and the cultural narra-
tives mysteriously buried within them. What was the Chapters 1 and 2- which constitute the first half of this 
cause of a structure’s ruination within a place? What dissertation, are specifically structured according to 
does the structure narrate about the place, time and architectural terms such as- typology, topology, mor-
people from which it came? Why were these struc- phology and tectonics. The study of typology in re-
tures rejected by society? And why is the devastation gards to this document refers to an investigation into 
of ruins so intriguing? similar building types in terms of more functional re-
quirements that relate to the proposed project; an in-
While researching the history of Bloemfontein, it vestigation into the topology of the project refers 
became apparent that I had little knowl- to the facts and qualities identified on the 
edge of the history of the place I have site and further into the context in or-
lived in my whole life. As the ‘mod- der to gain a better understanding 
el’ Apartheid city, I, a White Af-  TO of the place. Morphology, which  
rikaans girl from the suburbs refers to the notions that lead 
of Bloemfontein, had the to the realisation of the 
misconception that the project, include the con-
small settlements around ceptual constructs which 
Bloemfontein, such as may lead to a unique 
Thaba ‘Nchu and Botsha-   approach pertaining to 
belo had been developed  the typological and to-
 
as ‘locations’ because of pological implications 
the segregation between VIcTORIA ST that arose out of the in-
cultures enforced by vestigations. The tecton-
Apartheid. My visit to Tha- ics of the project are re-
ba ‘Nchu together with the alised through the use of 
interviews I had conducted structural systems with the 
with inhabitants proved that aid of conceptual ideas that 
there is a much deeper story augment the morphological 
behind my misconception as seen aspect of the project.
in the ruins scattered across the set-
tlement which lead me to ask, what is Chapter 3 synthesises the information 
the voice of Thaba ‘Nchu? gathered in Chapters 1 and 2. This includes all the 
considerations pertaining to the design and conse-
The investigation was rationalised through exploring quential structure. The chapter illustrates the develop-
the history of Thaba ‘Nchu; conducting interviews with ments that took place with regard to the realisation of 
its inhabitants (who came from different backgrounds the building, and explain the design and tectonic com-
and generations); investigating similar building typol- ponents. Chapter 4 concludes the dissertation with 
ogy’s as precedent studies; considering ways in which a discussion on how successfully I feel I managed to 
the site could be remembered through realising the synthesize  the project according to the initial chal-
client’s needs while, at the same time addressing the lenges. This is done by means of an evaluation of and 
needs of the community in Thaba ‘Nchu; and consider- a reflection on the overall process of the dissertation.
ing how a theoretical application could be realised in 
FIgUrE 3-5: residents & ruins in Thaba ‘Nchu from my first visit in December 2015
i
 N8 
            
    TO
          T   
    
O exceLSIOR 
 
 
 
           FROM BRAND ST 
S
IcT
IST
R
D
HA
 
Se
S
O
Se
L
“A NATION WITHOUT ITS HISTORy IS LIke 
A peRSON WITHOUT THeIR MeMORy” 
We were taught, sometimes in a very positive way, to 
despise ourselves and our ways of life. We were made 
to believe that we had no past to speak of, no histo-
ry to boast of. The past so far as we are concerned, 
was just a blank and nothing more. Only the pres-
ent mattered and we had very little control over it. It 
seemed we were in for a definite period of foreign tu-
telage, without any hope of ever again becoming our 
own masters. The end result of all this was that our 
self-pride and our self-confidence were badly under-
mined. It should now be our intention to try to retrieve 
what we can of our past. We should write our own 
history books to prove that we did have a past, and 
that it was a past that was as with writing and learn-
ing about as any other. We must do this for the simple 
reason that a nation without a past is a lost nation, 
and a people without a past is a people without a soul 
- SIR SeReTSe kHAMA (1970)
ii
voIcINg thE hIstorIcAL NArrAtIvE
pHITSANe
TRANSVAAL
MAFIkeNg
MAqUASSI
BeTSjOeANALAND
al 
r
va
pLATBeRg
gRIekWASTAD
r ri
ver
modde BLOeMFONTeIN THABA ‘NcHU
ORANje VRySTAAT MASeRU
a
 e rive
N
FIgUrE 6: route taken by Barolong to Thaba pHILLIppOLIS
‘Nchu 1833 (Molema, 1987: 46)
n the 6th of December the Difiqane.  The Barolong named the dominant hill 
O1833, the Barolong- in the landscape ‘Swartberg’, as a result of the indig-boo-Seleka tribe ar- enous bush species that gave the hill a black appear-rived in a place they ance. As the land belonged to the king of lesotho, named Thaba ‘Nchu. King Moshoeshoe I, Kgosi Moroka and the Mission-
The group was led by Kgosi Moroka, aries went to  the King  to negotiate the purchasing 
accompanied by Wesleyan Mission- of the newly found territory. The chief succeeded in 
aries under the leadership of Rev. purchasing the land once he signed the  documents, 
James Archbell and Broadbent. The which  proved  that Kgosi and the Barolong people 
Wesleyan Missionaries assisted the were allowed to legally inhabit the land. 
Barolong in finding a safe, peaceful 
area which was in contrast to the war Thaba ‘Nchu was established in 1873, today forming 
stricken areas in Mafikeng caused by part of the Mangaung Municipality in the free State. 
FIgUrE 7: Chief Moroka 
iii (Molema, 1987: )
harts river
iver
r
ng
or
The name of the town can be translates as ‘place of the 
leopard’ and was known by the Voortrekkers as Blesberg. 
Originally, the boundaries of Thaba ‘Nchu were set by 
the leew-River to the east. The Mokopu Motseke Moun-
tains and the Morojaneng hills near Dewetsdorp define 
the South eastern boundaries.  The ‘Phata-ya-lobelo’ hills 
constitute the Western boundary. 
The Barolong-boo-Seleka along with the Ratlou Barolong 
and Tshidi Barolong, settled on three hills in the otherwise 
flat milieu. each tribe was located on a specific hill, with 
the Seleka clan occupying the hill on the south side of  the 
Sepane River (Molema, 1987: 39). 
FIgUrE 8: Thaba ‘Nchu 1830
The missionaries built a mission station  on a clearing 
between the tribes. The tribes built huts, which were ar-
ranged in a concentric manner, facing inwards towards 
the chief’s kgotla fig. 10. The arc layout illustrates a central 
geometric principle  which dominated the general layout 
of the town. Dr A. Smith explains that in the year 1834, the 
houses in Thaba ‘Nchu were irregularly disposed, though 
more or less encircling the cattle kraals. According to Rev. 
Cameron, Thaba ‘Nchu was said to have a very imposing 
effect in 1841. He describes the place as a, “vast assem-
blage of houses widely different to european settlements 
with no towers or public buildings, a heap of Bechuana 
huts jostled together without apparent order and their 
cattle folds make up the scene” (Molema, 1987: 39).
In the year 1835, the first group of Voortrekkers, lead by FIgUrE 9: Church assembly led by rev. Archbell in Thaba ‘Nchu 
louis Triechardt and Hans van Rensburg, arrived in Thaba 1834 (Schoeman, 1991:49).
‘Nchu. This arrival lead to the first known meeting of Ban-
tu and White people settling together in the free State. 
Thaba ‘Nchu became a safe meeting place for Voortrek-
ker leaders including Hendrik Potgieter (fig. 11), Piet uys 
and Gerrit Maritz. During the Difaqane wars, the Voor-
trekkers aided the Barolong tribes. Similarly, the Barolong kgOTLA
helped the Voortrekkers by providing them with warriors 
and supplies at Vegkop. Chief Moroka provided the Voor-
trekkers with a ‘refugee camp’ known as ‘Moroka’s Hoek’. 
The tribal communities were severely influenced by the 
Afrikaans and english settlers in terms of administration, 
religion and education (Schuler, 1965: 2).
When Sir Harry Smith was announced as the new gover- FIgUrE 10: Barolong settlement pattern
nor and high commissioner of the Cape Colony in 1848, 
he proclaimed British sovereignty over the Orange free 
State. This proclamation restrained the African tribes and 
Dutch settlers by means of land limits (Molema, 1987: 67). 
Sir Smith declared complete rule over Chief Moroka, Mo-
shoeshoe, Adam Kok, Moletsane and other chiefs in the 
area (Molema, 1987: 69). following this declaration, Henry 
Warden was given the task of laying boundary lines and 
ensuring peace between the tribes and settled in what 
would later become Bloemfontein. By 1949 the British gov-
ernment sought to separate the Black people from the 
White people (Molema, 1987: 72). The British took the de-
sirable land from the Barolong and other African tribes in 
the area,  and gave it to the Dutch settlers, re-establishing 
the boundaries of Thaba ‘Nchu, which lead to an impover-
ished people where only ruins of schools and missionary 
stations remained(Molema, 1987: 84).
FIgUrE 11: general Andries Hendrik Potgieter (Molema, 1987: )
iv
Thaba ‘Nchu was considered to be a friendly, native ‘Nchu more land to support their dying livestock and 
state by the Boer-governed Orange free State which to reclaim the Tribal land that had once belonged to 
was established in 1854 when the english abandoned them. During the late 1960’-s and 1970’-s, the farmers 
the free State. During the annexation of Thaba ‘Nchu in the Orange free State  instigated a reduction pro-
in 1884 by the President of the Orange free State, pres- gramme concerning their labourers.  The labourers 
ident Brand, the size of Thaba ‘Nchu was reduced con- were dismissed on the grounds of old age and conse-
siderably. Approximately 15 citizens were sent to Tha- quent lack of productivity, and were thus forced into 
ba ‘Nchu by President Brand to mediate between the the area of Thaba ‘Nchu. This phenomenon  led to the 
Barolong. Kgosi Moroka selected strong honest men formation of Kromdraai in the Mokwena village, Tha-
among his tribesmen to provide security at the new ba ‘Nchu, an informal settlement. The considerable 
boundaries of the land.  growth of Kromdraai resulted in a congested area 
which brought about  health  hazards and extenuating 
A law was passed by the  Orange free State Volks- living conditions as there was no running water or san-
raad that stated that no Black person could buy or itary facilities (SA history: online 2016).
sell farms, except to  White settlers. This law had a 
devastating effect on the community of Thaba ‘Nchu Thaba Nchu is unique in its history, which is rooted in 
deeply and negatively. A sense of hopelessness, frus- wars, tribal migrations and its unusual alliances. It is 
tration  and helplessness dominated the community; as also unique in terms of its landscape as seen in its spir-
many farms had been lost or taken, according to Amy itual home for the Tswana culture, and in terms of the 
(Goitsemodimo: interview 2016). The newly enforced preservation of its tribal traditions. Throughout its exis-
law reduced Thaba ‘Nchu to less than a quarter of the tence, the place has been surrounded by different peo-
original farmlands and settlement. Rev. Mothibi says, ple of different races. The community of Thaba ‘Nchu 
“We are saturated and can no longer accommodate takes pride in its culture, traditions, customs, faith, rit-
our own children as a result of the lack of necessary uals, social values; and above all, its language. Mole-
infrastructure which pertain to electricity, telephone ma writes that a nation without its own language is a 
lines and water” (Mothibi: interview 2016). dead nation. Though these values are still vital to the 
culture, the westernisation of  Thaba ‘Nchu, as a result 
During the Apartheid era Thaba ‘Nchu formed part of colonisation and the Apartheid, has placed a great 
of the area that had been set aside for the Bantustan deal of strain on the practices, identity and memory of 
of Bophuthatswana. During the 1940’s, a request was the culture because of a history of marginalisation and 
made to the government to grant the people of Thaba suppression. 
BoPHUTHATSwANA
NoN-INDEPENDENT BANTUSTAN
BOTSWANA
MAFIkENg
TRANSVAAL pROVINce
ORANge FRee STATe
NATAL
THABA  ‘NCHU
BLoEMFoNTEIN
LeSOTHO
cApe pROVINce
N
0 100 200
km
FIgUrE 12: Bophutahatswana 1980’s 
v
SeLIBA 
ReSeRVe
         RIV
TO BlOeMfONTeIN
kroMDrAAI
BOTSHABeLO
VoorTrEkkEr 
MoNUMENT
NEw THABA ‘NCHU DISTrICT BoUNDArY
oLD THABA ‘NCHU DISTrICT BoUNDArY
N
0 10 20
km
FIgUrE 13: old Settlement boundary 
compared to the new boundary
BoPHUTHATSwANA
TO BLOeMFONTeIN  
 TO MAS
eRU
  THABA ‘NcHU
 
 
 
cOLOUReD VILLAge
THABA ‘NcHU VILLAgeS 
THABA PHATSwA
BLAck TOWN
WHITe TOWN
BoPHUTHATSwANA
RAILWAy
MAjOR ROAD
FIgUrE 14: The Thaba ‘Nchu district, 
N Bophutahatswana 1980’s 
vi
eR
LeNgeNA
SITe
roA
D
rIA
 
To
VIC
N
FIgUrE 15: Map of Thaba ‘Nchu September 
1892. (2/362: Free State Archives)
14
oAD
rIA
 r
VIC
To
15
SITe
Current setting of Thaba ‘Nchu with site 
Old Markt Plein 
in figure 15
FIgUrE 16: Map of Thaba ‘Nchu during Apartheid, 
August 1980. (3/353: Free State Archives)
viii
BUSINeSSeS
BUSINeSS cLOSeD
OFFIceS & SIMILAR USeS
INDUSTRIeS
gARAgeS
HOTeLS & FLATS
STORAge pLAceS
RAILWAy LINe
cHURcHeS
HOUSeS gOOD
HOUSeS UNDeR cONSTRUcTION
pReFABRIcATeD HOUSe
RUIN
HOUSe eMpTy
WATeR TOWeR
HOUSe ReASONABLe
HOSUe BAD
ix
t I m E L I N E
FIgUrE 22
1836
FIgUrE 19
Thaba ‘Nchu had become 
Figure 18: View of wesleyan a gathering space for the 
mission station, Thaba ‘Nchu in 
1835 (Schoeman, 1991:49). Voortrekkers. Mission-
ary James Archbell and 
1833 Chief Moroka welcomed 
Piet uys and the Voor-
FIgUrE 17
trekkers led by him. Piet 
1823 uys built a monument, a 
place known as uys klip, 
as a symbol of their re-
spect and gratitude for 
The Barolong and mis-
FIgUrE 20 the Barolong (Venter, 
sionaries established 
1834 1960: 8). 
themselves at Thaba 
Nchu (Venter, 1960: 7)
Weslyan Methodist In May 1836, a friendship 
church established mis- developed between An-
On the 6th of December 
sionary station at Plat- dries Potgieter and Chief 
King Moshoeshoe sold 
berg by missionaries The missionaries helped Moroka. The group of 
the land to the mission-
Broadbent and Hodg- in establishing infrastruc- Voortrekkers under Potgi-
aries, on behalf of the 
son for the Barolong ture in the newly found eter moved on to Vetrivier, 
Barolong, for 7 oxen, one 
boo Sekela. The tribe settlement through the where the battle of Veg-
heifer, 2 sheep and one 
moved  from Platberg to construction of schools, kop occurred between 
goat. The land purchase 
the Caledon  River area houses and churches. the Voortrekkers and the 
was successful with the 
for more space (Venter, The first black shool in Matabele. The mission-
signature of King Mo-
1960: 7). the free state was built aries and Barolong aid-
shoeshoe and Moseme as in 1834. ed the Voortrekkers with 
one party and Rev. James sorghum and corn and 
Archbell, edwards and brought them back to 
Jenkins as the parties on Thaba ‘Nchu.
behalf of Chief Moroka 
(Molema, 1987: 36).
The Maritz trek arrived in 
Thaba ‘Nchu by the end 
15 000 people left the of 1836, who were also 
Caledon area to Thaba welcomed by the english 
‘Nchu, which  included and Barolong.  
Barolong, Griquas, Kora-
nas, and new Zealanders, 
under Chief Moroka. The Wagon circles were fre-
group chose a site to set- quently visited by the 
tle 3.2km west of the hill english and Chief Moro-
Thaba Nchu, known back ka.  Smit writes that it is 
then as the black moun- FIgUrE 21 pleasant in Thaba ‘Nchu. 
tain, the highest hill in 1835 The people  are welcom-
the free State. Molema ing with a good mission-
describes the mountain ary house, printing busi-
as majestically dominat- ness and school (Venter, 
ing the landscape, which 1960: 9).louis Trichardt led the-
seems to beckon silently. first group of Voortrek-
(Molema, 1987: 37) kers through Thaba 
‘Nchu.
x
1837
1843
1840
James Cameron de-
The Bechuana District 
scribed Thaba ‘Nchu as 
came into being (Schoe-
having a very imposing 
man, 1991: 42). Thaba 
effect. The settlement is a 
‘Nchu was claimed to 
vast assemblage of hous-
constitute the largest 
es teeming with inhabi-
settlement in South Af-
tants, but widely different 
rica after Cape Town, Mr Giddy built a chap- FIgUrE 23from european town. 
because of the large el from substantial brick 
number of Barolong who walls, with a pole roof 1848
settled there (Schoeman, No splendid fanes, no thatched with rushes. A 
1991:31). towers or spires, no pub-broad building cannot 
lic buildings to serve the 
be easily erected in this 
ends of other justice or 
area because of the lack 
benevolence greet the 
of wood in, therefore the 
1839 heavens, a heap of Bech-chapel was built in the 
uana huts jostled togeth-
form of a cross (Schoe-
er without any apparent 
man, 1991:69). The walls 
order and their indis-
are sufficiently high with 
pensable appendages- 
The arrival of Giddy at no ceiling, and the whole 
cattle folds- make up the 
Thaba ‘Nchu was signif- is built in a style which 
scene (Schuler, 1965: 21). Sir Harry Smith started 
icant. He was a qualified accords  with the views of claiming land for the Col-
printer that enabled the Giddy as to what an Af- ony, this action was not 
mission station to utilise rican chapel ought to be. By 1843, the good rela- appreciated by the  Boer 
its printing press and The plan of the church is tionship between the en- community.
produce books, pam- in harmony with the char- glish and Afrikaans was 
phlets and readers for the acter and habits of the forgotten. By this time, 
schools and congrega- native people (Schoe- the Cape colony had an 
William Shaw wrote: 
tions. The annual report man, 1991:70). agreement with King 
‘the native town of Tha-
Mosjesj to have the area ba ‘Nchu has extended; states that the first print-
between the Orange the people have erected ing press in the Orange 
many stone walls and en-
free State was set up in River and the Caledon, 
Thaba ‘Nchu. further- which included Thaba 
closures, and houses of 
more, it was noticed that ‘Nchu. This agreement 
a superior description’ 
1841 (Schoeman, 1991:97).
many people exchanged was the start of bound-
the native kaross for the ary disputes between the 
european dress and  the Barolong and Basotho’s. According to Camer-
decline of the practice of on, (Schoeman, 1991:98) 
Bechuana customs and chief Moroka, Sikonyele The Tshidi, Ratlou and 1847
ceremonies are evidence and Karlous preferred to Rapulane Barolong de-
of the colonial influence be under British authority parted from Thaba ‘Nchu 
on the native people as the only way of secur-(Schoeman, 1991:108).
(Schoeman, 1991:38). ing them the possession 
of their lands, of which 
James Cameron was the Dutch farmers seem 
now stationed at Thaba disposed to deprive 
‘Nchu Bechuana Mission them.
Station. In this year an-
other church was erect-
ed. Cameron appointed 
workers (inhabitants of 
Thaba ‘Nchu) by classes, 
each class a week in rota-
tion to quarry stones for 
the church walls (Schoe-
man, 1991:96).
xi
1854
1853
1865
Great Britain handed 
over its authority to the 
Transorange territory 
to the Boer population, 
and the Republic of the 
Orange free State was 
established (Schoeman, 
FIgUrE 24 1991:118). Tension  grew 
1849 between the Republican 
Afrikaans and english, 
As a result of the bound-
also among the among 
ary disputes, many hous- Anglicans established 
natives (Schuler, 1965: 
es and kraals were left mission stations in Thaba 
15). 
desolate, only the ruins ‘Nchu (Venter, 1960: 15).
remained.  Schools were built from 
By now the Wesleyan era ‘rousteen’ (Venter, 1960: 
had ended and the Bech- 31)
The missionaries estab-
uana District ceased its 
lished new churches and 
independent existence 
schools were re-estab- War was declared be-Henry Warden drew up (Schoeman, 1991:121).
lished.  An article in The tween the free State re-the boundary lines be-
Friend claimed that the public and the Basotho’s.tween Basotholand and 
the english, also for Tha- church has a gallery and 
ba ‘Nchu. (Venter, 1960: has a chapel fit for func-
13). tions (Venter, 1960: 29).
1850
FIgUrE 26
1858
The 1850’s prove to be 
the years of great un-
rest and distress for both 
FIgUrE 25
missions of the Bechuana 
District and the area in 
which they are situated By 1858, the missionaries 
in (Schoeman, 1991:101). evacuated Thaba ‘Nchu 
and left buildings in ruins 
because of the unrest be-
Chief Moroka II succeed- tween the Afrikaans and 
ed in maintaining an in- english. FIgUrE 28
dependent Rolong state 
between the Boers and 
the Basotho’s, eventually 
as an enclave in the free 
State territory during un-
rest between the Boers 
and missionaries (Schoe-
man, 1991:121).
xii FIgUrE 27
1960’S
1913
farmers in the Orange 
free State  instigated a 
1884 reduction programme 
concerning their labour-
ers.  The labourers that 
Thaba Nchu was clas- were let go because of 
sified as the homeland old age influencing their 
for Tswana people under productivity, were forced 
the 1913 Natives land into the area of Thaba 
Act, which resulted in the ‘Nchu. This action  insti-
forceful removal of in- gated the formation of 
habitants. farmers were Kromdraai, a ‘location’, a 
denied claim to their fer- product of Apartheid. 
Thaba ‘Nchu was an- tile lands, with the most 1940’S
nexed by the free State. healthy livestock auc- Since the devastating 
Many of the Barolong left tioned off for very little. events that occurred in 
as a result of the annex- The farmers were relo- Thaba ‘Nchu, residents 
ation (Venter, 1960: 17). cated to the undesirable have forgotten their 
lands, while the govern- voice. The voice of Tha-
ment claimed the more 
A new church was built ba ‘Nchu has been buried 
desirable lands for them-
by Rev. Archbell, 30x6m, under the rubble of colo-
selves.
with gum poles, clay and nisation and Apartheid. 
carpets (Venter, 1960: 21).
Presently, inhabitants 
A request was made by know little of the past 
the traditional council which could potentially 
to the governement to give them a voice. The 
grant the people of Tha- voice of the past should 
ba ‘Nchu more land to be heard inorder to re-
support their dying live- store a forgotten identity 
FIgUrE 29 stock and to reclaim the and provide a hope for 
Tribal land that once be- the future for the people 
longed to them. living in the place. every 
person has a right for 
their story to be heard, 
and not be muted to a 
generalized idea about a 
place.
FIgUrE 30
xiii
r E s E A r c h m E t h o d o L o g y
Centred around a method of exploratory re-search, 
the objective of this dissertation leads to investi-
gations  grounded in problem statements which 
sought to obtain a final design solution. The prob-
lem statements address for whom the design is in-
tended, where the design will be-  how the gestalt 
of the design is influenced and how the design is 
put together with regards to tectonics. These fac-
ets pertaining to the investigation will relate to the 
sources of knowledge that influence the sense of 
typology, topology, morphology and tectonics that 
relate to the structure itself. 
The research originated from my curiosity about 
Thaba ‘Nchu, including, the story behind the place, 
its history, inhabitants and their stories, why it  is 
perceived by so many as a ruin or a product of 
Apartheid, and how the voice of Thaba ‘Nchu can 
be heard. In order to address these questions, dif-
ferent sources of knowledge were explored in an 
attempt to develop a design methodology that is 
specific to this design project. 
The exploratory research sources employ the fol-
lowing methods:
- An investigation into the history of Thaba ‘Nchu 
gave rise to certain ideas and questions pertaining 
to the present situation in the place.
xiv
m E t h o d o L o g y
- Interviewing three inhabitants of Thaba ‘Nchu, all 
of whom are from different generations, highlight-
ed the present challenges faced by the community. 
These interviews lead to conceptual notions that 
would augment the essence of the proposed proj-
ect.
A touchstone, which identifies the essence of the 
proposed project’s intentions was realized, which 
led to the development of certain concepts. In turn, 
this generated a conceptual framework. 
The conceptual framework was used as a tool to 
organise initial ideas and concepts. These ideas 
were realized through precedent studies, explored 
and grounded in theory.
 
The analysis of the architectural precedent studies 
pertaining to the proposed project resulted in a lit-
erature review which includes a personal, cognitive 
and interpretive analyses that proved to reinforced 
the outcomes of this dissertation. 
This analysis includes a investigation into the site 
that pertains to quantitative information and which 
deal with the real measurements I conducted on 
site. A cognitive analysis realized my personal ex-
perience of the site and context.
xv
2 .
1 .
r E s E A r c h 
compoNENts
p r o b L E m 
stAtEmENts
& AIms
expLAININg THe INVeSTIgATIVe 
pROceSS:
INTRODUcTION TO THe pROjecT DEMoNSTrATINg A DISCoUrSE rE-
gArDINg rESEArCH, kNowLEDgE, 
CoMPrEHENSIoN, APPLICATIoN AND 
DEFININg THE ProBLEM STATEMENTS 
ANALYSIS THroUgH THE INVESTIgA-
THroUgH AN UNDErSTANDINg oF THE 
TIoN oF:
THE VArIoUS ELEMENTS THAT ACCEN-
TUATE CErTAIN DESIgN CHALLENgES 
NAMELY: BUILDINg TypOLOgy
pROpOSeD SITe & HISTORy
TypOLOgy ReLeVANT pReceDeNTS
TOpOLOgy
MORpHOLOgy
STRUcTURe
xvi
4 .
EvALuAtIoN & 
rEfLEctIoN
3 .
A peRSONAL ReFLecTION OF THe 
DeSIgN pROceSS 
dEsIgN & rECoLLECTINg THE PErSoNAL CHAL-
LENgES FACED THroUgHoUT THE 
tEchNIcAL ProCESS oF THE DISSErTATIoN AND 
AN EVALUATIoN oF THE FINAL Pro-
syNthEsIs PoSED ProJECT.
A DeScRIpTION OF THe DeSIgN 
pROceSS 
AN ILLUSTrATIoN oF THE VArIoUS 
DEVELoPMENT PHASES wITH THE IN-
TENTIoN oF MoVINg TowArDS A FI-
NAL DESIgN ProPoSAL, BY USINg THE 
kNowLEDgE gAINED DUrINg THE IN-
VESTIgATIVE ProCESS.
xVII
FIgUrE 31: Perspective of Brand Street 2016
C H A p T e r
11.1 TypOLOgy 1.1.1. Client and users  1.1.2. Initial brief  1.1.3. Problem statement  1.1.4. Aims 1.2 TOpOLOgy1.2.1. Problem statement  1.2.2. Aims 1.3 MORpHOLOgy1.3.1. Problem statement 1.3.2. Aims 1.4 TecTONIcS1.4.1. Problem statement  1.4.2. Aims 
1
probLEm stAtEmENts & AIms
An investigation into the history of Thaba ‘Nchu, it’s as the existing structures on it, led to certain decisions 
topology, as well as the typology of museums and ar- in order to be sensitive to the language of the context 
chives in post- Apartheid South Africa was the start of and its history, without losing requirements pertaining 
defining the problem, as well as the aims of this dis- to the building type.
sertation. With regard to this treatise, the initial aim 
was to design a museum and archive in the context of The investigation into the typology and topology of 
Thaba ‘Nchu which would be committed to the preser- the proposed project resulted in certain indications 
vation of its historical documents, collecting oral his- that pertain to the morphology of the building. further 
tory within the settlement, and showing how such an investigation into the morphology led to principles of 
institute can be made relevant in a sparsely-urbanised form-giving that assisted in developing a unique ap-
setting by encouraging public interaction and a willing- proach, in contrast to the conformist ideas of design-
ness to learn about their history. ing museums and archives. This presented additional 
challenging in the design of the precinct. As far as the 
The initial direction of the thought for this project orig- tectonics of the building are concerned, structural sys-
inated from an analysis of the client’s needs as well as tems were selected with regard to their relation to the 
the history of Thaba ‘Nchu. Only once the user and site conceptual notions of the project, which reinforced the 
of this precinct had been investigated, were the con- ideas on morphology. 
sequential parameters, aims and challenges identified.
This process of assessing and investigating was 
Significant consideration went into the selection of the non-linear in that alternating between the disclosed 
site in order to accommodate and augment the inten- implications and considerations of the topology, typol-
tion of the proposed building typology. The challenges ogy, morphology and tectonics moulded the decisions 
of the project which brought to light the parameters as that would finally resolve and shape to the proposed 
well as the design of the precinct, were mostly present- project.
ed by the site. The size and, nature of the site, as well 
typoLogy + topoLogy morphoLogy
2
1.1  T Y P o L o g Y 
The proposed typology is a museum and archive. The classification of the building type brings about certain 
standards and implications to be met or questioned. The client, who arose out of the building type and its con-
tent, proved to be vital in the project’s brief development. A list of requirements, together with a mission state-
ment received by the client, determined the aims of the project.
1.1.1  c L I e N T
 
The National Museum of Bloemfontein, funded by the Department of Arts and Culture, requires a house of mem-
ory that will protect, conserve and exhibit the history of Thaba ‘Nchu. The assignment of the institution will be to 
collect oral history from the Museum’s Anthropology Department, as well as from the inhabitants of Thaba ‘Nchu 
and the 49 villages surrounding the settlement. 
U S e R S 
The proposed project will provide a place for the historical documents of Thaba ‘Nchu to be conserved and 
protected, for oral history to be recorded and processed, and provide an educational platform to present the 
histories to the public. The objective of the project is for the building to be utilised by anthropologists collecting 
the history of Thaba ‘Nchu; volunteers to be trained to collect oral history; visitors researching the history of the 
place or people; and the general public who are interested in the heritage of Thaba ‘Nchu or who want to share 
their stories. Once the history of a place is better understood, more importantly, the stories of its inhabitants can 
be heard and a better understanding of the character of a place is gained, ultimately adding to the identity of 
individuals who have been forgotten, as well as to the community of Thaba ‘Nchu   
1.1.2  B R I e F
The client requested the design of a precinct with a House of Memory that would function as a museum and ar-
chive. The House of Memory comprises of exhibition spaces that narrate the history of Thaba ‘Nchu and displays 
oral history by means of audio-visual components; facilities that are suitable for historical research as well as 
recording oral history and training persons to record oral history; administrative amenities that include space 
for the restoration, organisation and storage of historical documents; and an auditorium, a first for Thaba ‘Nchu. 
The client also requires the project to infiltrate Thaba ‘Nchu on an urban level, creating a historical awareness 
within the inhabitants of Thaba ‘Nchu. 
1.1.3  p R O B L e M   S T A T e M e N T
The work conducted by qualified experts with regard to preservation and restoration, as well as the exhibition 
and storage spaces of the historical documents requires certain conditions to ensure that the material is con-
served. These conditions include keeping the documents secure, and providing optimum temperature and light 
regulation to ensure that there is no deterioration of the historical documents. Conditions in exhibition spaces 
should take into account human comfort. The size and organisation of the museum and archive are relative to the 
number of historical documents and qualified staff utilising the building. As the project houses context/ locally 
specific content, it is crucial to consider the context and content during the design process. In addition, museums 
and archives, especially in a South African context, are introverted and only accessible to a select few in society, 
reinforcing the ill-informed notion that more rural and poor communities do not have history to tell, therefore 
distancing these communities from their heritage and part of their identity. 
1.1.4  A I M S 
The most significant objective of the project with regard to typology is to create a design that realises the cli-
ent’s needs concerning the functionality of the project, while addressing the preconceived ideas of museums 
and archives in a post-Apartheid South Africa. The museum and archive needs to be accessible to all members 
of society, and extend into Thaba ‘Nchu to ensure that the community is educated on the local history that has 
contributed to the character of the place. The museum should attempt to create memorable spatial experiences, 
which vary relative to each story that is narrated.
3
2. 3.
1.2  T O p O L O g y 
1.
4.
S I T E 
6.
5.
C B D
FIgUrE 32: Site in Thaba ‘Nchu settlement
The proposed site for the project is on the corner of two major roads in Thaba ‘Nchu. The site is located to the 
north of the CBD of Thaba ‘Nchu, which serves as a threshold between the middle class of the settlement and the 
poorer class. The site itself consists of the ruins of an old chief house (1) the first Black school in the free State 
(2) and the remains of the ereskuld NG church (3). The structures presently functioning on the site are the tactic 
offices of the SAPS (4), the traditional council (6) and the SASSA offices (5).
1.2.1  p R O B L e M   S T A T e M e N T 
The site itself poses direct challenges to the design as a result of the steep slope (approximately 15 m) on which 
it is situated. Another aspect to be considered with regard to the site is the old ruined structures which pose 
questions of conservation and necessity and which may present opportunities to be researched relating to re-
purposing the ruined structures. The built context also presents challenges concerning the relationship between 
varying architectural languages, as well as the relationship between nature (prominent hills in Thaba ’Nchu) 
and the placement of structures on the topography which will directly influence the project. furthermore, many 
pedestrians move through the site as it forms a connection between the residential area and the centre of Thaba 
’Nchu, as well as the transportation nodes.
1.2.2  A I M S  
The primary objective of the design in terms of topology is to ensure that the project engages responsibly with 
the topography of the site to guide the design, without the design dominating the landscape, the historical 
structures, or the culture and socio-economic profile of the people of Thaba ’Nchu. The proposed architectural 
intervention should relate to the built environment in terms of the architectural styles evident in the context. In 
addition, the pedestrians moving through the site should be considered by the development of public, interac-
tive spaces that will enhance the daily rituals of the majority of the inhabitants of Thaba ’Nchu walking to the 
transportation nodes or to work.
4
1.3  M o r P H o L o g Y
1.3.1  p R O B L e M   S T A T e M e N T
Traditionally, museums and archives are introverted structures. They are simple and predictable, uninviting and 
exclusively used by researchers or those who can afford the entrance fee. The post-apartheid milieu of South 
Africa has proved to disregard the stereotypical notion of these archetypes with more interactive and explorative 
structures relative to the place and context in which they are situated. further investigation should be undertak-
en with regard to making museums and archives more accessible and relevant to those who live in more rural 
settlements, such as Thaba ’Nchu. furthermore, Thaba ’Nchu comprises of various architectural languages that 
emanated from its dynamic past, including the colonial and apartheid influence on settlement. Architectural 
identity is no longer evident within the settlement, which may, ultimately, contribute to the character of the place.
1.3.2  A I M S 
The main objective with regard to the morphology of the architectural intervention is to suggest a new architec-
tural language to close the gap between the historical and modern architectural styles evident in Thaba ’Nchu, 
through the design of the House of Memory for the resurgence of Thaba ‘Nchu. The aim of the new architectural 
language is, ultimately, to encourage meaningful place-making through extensive research on the various build-
ing styles found in the current building milieu in Thaba ’Nchu along with their history. Moreover, the contempo-
rary ideas of museums in a post-apartheid context need to be integrated into the design to encourage social 
interaction, an absence of economic segregation, and the avoidance of the tendency of museums and archives 
to be introverted and exclusive.
1.4  T E C T o N I C S
1.4.1  p R O B L e M   S T A T e M e N T
The structures of museums and archives as institutions are predictable in that they are predominantly built to 
represent the era in which they were constructed and the architectural vernacular of the place in which they 
are located. Challenges are posed as to the use of local material in innovative ways, while considering the level 
of local skill available. In addition, certain constraints pertaining to building height, construction boundary, etc. 
determined by the local municipality and requirements concerning construction, as well as safety and energy 
efficiency of the design, need to be met in an inventive way in order to overcome a repetitive design in the ar-
chitecture of a place.
1.4.2  A I M S 
The structure should be realised as a result of the concept of the design which will reflect and enhance the 
narratives portrayed within the museum. every aspect concerning the tectonics of the project, namely the de-
tailing and structural considerations, should portray the conceptual approach of the design. furthermore, the 
structural components and materials should engage responsibly with the context in terms of using local material 
and labour, while adhering to the building and spatial requirements of a museum and archive, which will ensure 
responsible building in the community and a structure that functions at an optimum level relative to its function. 
Consequently, the main objective concerning the tectonics of the project will be finding a way to synthesise the 
conceptual approach with regard to the tectonics of the museum, and the practical aspects of construction.
5
C H A p T e r
2.1 INTeRVIeWS 
2.2 TOUcHSTONe 
22.3 cONcepTUAL IDeAS 2.4cONcepTUAL FRAMeWORk 2.5 TypOLOgy 2.5.1 Investigating the client and user 2.5.2 Exploring similar building-types 2.5.2.1  Apartheid Museum2.5.2.2 Jean- Marie Tjibaou Cultural Centre2.5.2.3 Nelson Mandela Youth & Heritage Centre2.6 TOpOLOgy  Quantitative site analysis Cognitive/qualitative site analysis2.7 MORpHOLOgy  2.7.1 Morphological precedent 2.7.2 Literary Discourse: Voicing & tracing different narratives through the exploration of place2.7.3 Towards an accommodation list2.7.4 Accommodation list2.8 TecTONIcS 2.8.1 Structural concept exploration 2.8.2 Building requirements2.8.3 Tectonic precedent study2.9 DeSIgN MeTHODOLOgy
6
FIgUrE 33: City Centre of Thaba ‘Nchu
7
8
2.1 INtErvIEws
M A S e g O   M O R O k A
Masego is the grandson of James 
Moroka, a descendant of the royal 
family. On 3 December 2015, he in-
troduced the researcher to the tribal 
council and various historical beacons 
in Thaba ’Nchu. He emphasised the 
need for the inhabitants to be educat-
ed in their history and to voice their 
stories, which will contribute to the 
remembrance of a forgotten identity.
R e V e R e N D   M O T H I B I 
On 22 January 2016, Rev. Mothibi took 
the researcher to every historical-
ly-significant place in Thaba ’Nchu. 
He spoke about the history of his peo-
ple and highlighted some of the chal-
lenges faced by the place as a result 
of the Basotho wars, colonialism and 
apartheid, which led to land claims, 
forceful removal and relocation.
A M y   g O I T S e M O D I M O
Amy Goitsemodimo, an anthropolo-
gist at the National Museum in Bloem-
fontein, instigated the project aimed 
at collecting oral history from the vil-
lages surrounding Thaba ’Nchu. Inter-
views conducted on 20 february and 
16 April 2016 led to the development 
of the brief and project programme.
9
2.2  t o u c h s t o N E
The Oxford Dictionary describes a touchstone as ‘a place had been forgotten and that the inhabitants of 
piece of fine-grained dark schist or jasper formerly Thaba ’Nchu had been in search of the forgotten piec-
used for testing alloys of gold by observing the colour es of their story and identity.
of the mark which they made on it’ (Oxford Dictionary, 
2016). In relation to this investigation, a touchstone is The touchstone has three gears that represent the 
used to physically portray the essence of the proposed past, present and future voice of Thaba ’Nchu. pres-
project in which every idea is tested by the touchstone. ently, these facets are motionless or static. palasmaa 
is of the opinion that we live in worlds where the past, 
The main purpose of the House of Memory is to serve present and future constantly fuse together (pallas-
Thaba ’Nchu as ‘Memory Machine’. This machine aims maa, 1995:310).  
to revive the story of the place by collecting and pre-
serving the past and present stories of the inhabitants These facets need to fuse together in order to ‘revive’ 
that have been forgotten so that the voice of Thaba the story of Thaba ’Nchu which will help to restore a 
’Nchu can be heard again. forgotten and buried identity.
The initial idea of this memory machine originated The ‘voice’ of the past is the lowest gear, connected to 
from the historical investigation into Thaba ’Nchu as the lever of the memory machine, needed to set the 
well as from the interviews of those who live there. It other gears, or ‘voices’ in motion. The lever represents 
became clear that fragments of memory related to the the proposed architectural intervention which is rotat-
10
FIgUrE 34-38: Touchstone, by author:  2016
ed by the ordinary stories of those who reside in Thaba 
‘Nchu. The motion turns the ‘voice’ of the past which, in 
turn, rotates the present and future gears. The power 
transferred by the stories which fuse the past, present 
and future together, finally illuminates a light.  The light 
represents the story and identity of Thaba ‘Nchu, lit 
up by the ordinary narratives of those who live in the 
place, through architecture.
The touchstone illustrates the mnemonic system need-
ed to revive the identity of the place, forgotten as a 
result of the effects of colonisation and apartheid. In its 
motionless state, the system is dead, forgotten. Once 
the machine is set in motion through ordinary stories, 
the gears interlock with one another, resulting in mo-
tion that revives memories through stories which, ulti-
mately, restores the story or identity of the place and 
which provides a sense of hope for the future, while 
the past is remembered and the present, celebrated.
11
FIgUrE 39-42: Concept, by author:  2016
soLId . hEAvy . INtrovErtEd . cLosEd vs.  opEN . LIght . dEmAtErIALIzEd
12
2.3   c o N c E p t u A L   I d E A s
The conceptual ideas in regards to the treatise are the 
initial notions explored, which developed out of the 
touchstone that systematically revives that which is 
buried and forgotten in Thaba ‘Nchu, through ordinary 
stories of those who live in the place.
The first concept is based on using that which is bur-
ied and forgotten as a foundation for the present and 
new. The concrete block represents the past, i.e. that 
which is buried. It is stereotomic, and illustrates that 
which cannot be changed (it is a given). The stereot-
omic block is needed as a foundation for the tectonic, 
from which the unpredictable new develops. The un-
predictable new should be rooted in the past in order 
to remain stable and immovable, and to provide a 
space in which the future can develop.
The object also represents the way in which museums, 
which are typically introverted and bury the stories 
of the past even deeper, should fragment and extend 
into the place so that the function becomes part of the 
daily rituals and stories of the community in order to 
revive a buried identity by dematerialising the heavy 
and barring into that which is light and accessible.
vs.  opEN . LIght . dEmAtErIALIzEd
13
FIgUrE 43-46: Concept, by author:  2016
strENgthEN . fusE . stItch . kNot . joINt . NEtwork . coNNEct . mENd
14
The second concept relates to the first conceptual idea. 
The notion of weaving was derived from the gears in the 
touchstone that interlock with one another. The interlock-
ing speaks of the relationships within the project which 
are presently absent in Thaba ’Nchu. 
The stories of ordinary people, realised through the House 
of Memory, should be the element that brings together 
the old and the new, finally weaving them together. 
To weave is to bring together, to link that which is dif-
ferent into a collective, and yet still be able to recognise 
that which is different. The House of Memory will attempt 
to weave the old stories of Thaba ’Nchu with the new 
stories of its inhabitants. The weave forms a knot which 
illustrates the whole story and forgotten identity of the 
place, formed by the independent pieces of forgotten old 
and new stories.
strENgthEN . fusE . stItch . kNot . joINt . NEtwork . coNNEct . mENd
15
FIgUrE 47-50: Concept, by author:  2016
motIoN . rhythm . frEquENcy . LAyEr . LIght . momENtum . tImE . rItuAL
16
A narrative is a story or account of events, experiences, 
or the like, whether true or fictitious, presented in a se-
quence of written or spoken words or in a sequence of 
‘moving’ pictures. 
The third concept includes the notions of both the 1st and 
2nd which were derived form the touchstone. The touch-
stone predominantly illustrates a system that requires 
motion in order to work and to switch on the light and, in 
so doing, to revive the forgotten. The last concept moves 
the dead, changeless, stagnant and forgotten into that 
which shows motion, time, change, movement, variation 
and frequency.  The purpose of the House of Memory is to 
remember the buried narratives of the past, and to voice 
the present stories of the people of Thaba ‘Nchu. 
This object conceptually illustrates the proposed project 
as a mnemonic system which revives and restores the 
buried forgotten by becoming the connection between 
the old and new narratives, fragmenting into the land-
scape of the place itself. The proposed project is a narra-
tive in itself, a knot, brining together the different stories 
in order to revive the story and identity of Thaba ‘Nchu.
motIoN . rhythm . frEquENcy . LAyEr . LIght . momENtum . tImE . rItuAL
17
2.4 coNcEptuAL frAmEwork
During the investigations, namely research-
ing the history of Thaba ‘Nchu, identifying 
the challenges of the proposed project, the 
interviews conducted,  the touchstone and 
the conceptual development, certain themes 
and personal interests were increasingly em-
phasised. further research was conducted 
on these concepts, which led to the analysis 
of certain precedents pertaining to typology, 
morphology, topology and tectonics in re-
lation to the proposed project. These prec-
edents provided tangible solutions, which 
may reinforce and assist in the development 
and resolution of the project, and ensure 
that the project is responsible and respon-
sive in its natural and built environment. 
M   e   M   O   R   y
ToPoLogY
Ruins
Old & forgotten
New
18
CONNe C T I ON 
THROuGH TRAC-
eS Of STORIeS/ 
N A R R AT I Ve S / 
HISTORIeS
M   e   M   O   R   y
TYPoLogY
Museum + archive
House of memory
MorPHoLogY
Memory voices the 
forgotten through 
the remembered. 
19
2.5 t y p o L o g y
2.5.1 THE CLIENT & USEr
he Department of Arts and Culture (DAC) pro- programme, the Anthropology sector of the Museum 
Ttects and promotes the heritage of South Afri- has instigated the project of collecting history that has ca in the form of monuments, theatres, muse- never before been recorded in Thaba ’Nchu. The oral ums and cultural centres. The vision of the DAC history of local inhabitants will be collected in an at-
is to preserve and develop the culture of the country to tempt to reinstate forgotten identity, by reconstructing 
guarantee unity across various cultures and commu- the story of Thaba ’Nchu.
nities, while providing economic growth through the 
creation of job opportunities in South Africa. The process of collecting oral history will provide those 
working on the proposed project with job opportuni-
The DAC supports the country’s constitution with re- ties and attempt to encourage social cohesion.
gards to section 16, that encourages the right to free-
dom of expression, which includes: freedom of the It is for this reason that an additional institute is re-
press and other media; freedom to receive or impart quired in Thaba ’Nchu that will educate, preserve, pro-
information or ideas; freedom of artistic creativity; ac- mote and collect local histories that have never be-
ademic freedom and freedom of scientific research. fore been heard, a facility where anthropologists can 
Section 32 states that everyone has the right of access research the historical and present social patterns of 
to any information held by the state and any informa- the community. The brief of the client involves the con-
tion that is held by another person and that is required struction of a museum that is focused on collecting 
for the exercise or protection of any rights (DAC, 2016: oral history from the inhabitants of Thaba ’Nchu that 
online). requires specialised equipment, as well as research on 
the history of the place and its people, by archiving 
The DAC promotes Museums as ‘windows to the natu- historical documents collected from the community. It 
ral and cultural heritage of a country’ (DAC, 2016: on- is essential that the facility provides suitable spaces 
line). There are more than 300 museums in South Af- for the staff, those who share their oral history, and 
rica, including the National Museum in Bloemfontein. visitors. furthermore, it should provide suitable con-
The National Museum in Bloemfontein aims to provide ditions for the historical materials that occupy the 
heritage resources and a pleasant experience to vis- structure. In terms of architecture, the facility should, 
itors and academics through quality research, con- simultaneously, reflect the heritage of the place with 
servation, education and exhibitions. In conjunction the contemporary styles, in accordance with the DAC.
with the DAC’s Heritage Promotion and Preservation 
INTeNDeD USeRS:
The Anthropologist The student The researcher The every-day person
employed by the anthropologist in interested in researching  interested in telling 
institution, collecting training Thaba ‘Nchu’s history their story
oral history
20
2.5.2 SIMILAr BUILDINg TYPES
In order to understand the typological implications of 
the nature of this museum and archive which collects 
and exhibits history and oral history collected from 
the community of Thaba ‘Nchu, and stores historical 
documents pertaining to the history of the place, ex-
isting architectural examples were studied, mostly in a 
post-Apartheid South African context.
SAMA, the South African Museums Association, de-
scribes museums as public institutions that shape and 
manifest the consciousness, identities and understand-
ing of communities and individuals in relation to their 
natural, historical and cultural environments, through 
collection, documentation, conservation, research and 
education programmes that are responsive to the 
needs of society (2014). 
Bearing in mind that museums address political and 
ideological issues that can form public opinions and 
shape collective memories, much consideration should 
be given to designing subjective exhibitions in a 
post-apartheid and post-colonial context that do not 
favour certain material.
Buildings considered include:
* The Apartheid Museum in Johannesburg
* Jean Marie Tjibaou Cultural Centre in New Caledonia
* Nelson Mandela Heritage Centre in the eastern Cape
These buildings are analyzed with the proposed design 
in mind.
21
2.5.2.1 ApARTHeID MUSeUM roodt & britz partnership, mashabane rose architects and linda mvusi 
architects 2003 johannesburg
SIMILAR BUILDINg Type & pOLITIcAL cONTexT:
The Apartheid Museum is the first to nar-
rate the story of Apartheid in South Afri-
ca. The Museum is an excellent example of 
how architecture is used as a tool to  con-
vey a certain message and experience to 
its users. The project  extends beyond its 
‘4 walls‘, where landscaping also becomes 
an important consideration. “The visitor 
weaves a route inside and outside of the 
museum, taking in the history of apartheid, 
being constantly bombarded by sights and 
sounds“ (Davie, 2005: online).
FIgURe 51: The bulk of the exhibition spaces in the building is in a wedge shape, widening 
toward the end, with walkways on either side (Mashabane & Rose, 2014:15).
FIgURe 54: Seperate entrances for races: architec-
ture augments narrative (joubert, 2009: 126).
FIgUrE 56: Stereot-
omic form (Joubert, 
FIgUrE 52: ‘Pillars’ of the country 2009: 126).
(Joubert, 2009: 126). FIgUrE 55: Exhibition extend to exterior 
(Joubert, 2009: 126).
FIgUrE 53: Material contributes to the experiential qual-
ity of exhibitions (Joubert, 2009: 126).
FIgUrE 57: Architectural elements portray parts of the narrative, sketch by author.
22
The museum is a definite route, connect- The project has 7 dominant ‘pillars’ that rep-
ing 22 exhibition areas which have been resent the Constitution. The pillars repre-
arranged to form a specific sequence. The sent the fundamental values towards which 
route takes the visitor through a dramatic the country is striving, namely; democracy, 
and emotional journey, telling the story of equality, reconciliation, diversity, responsi-
racial discrimination and the struggle to bility, respect and freedom (Joubert, 2009: 
overthrow the government. The intention of 126). These pillars guide the visitor to the 
the museum is to become a beacon of hope, entrance of the museum, illustrating how 
illustrating that South Africa is coming to the museum extends into the landscape 
terms with its past and working towards a and adding to the sensory experience of 
future (Joubert, 2009: 126). Artworks be- the Museum. The Museum confronts the 
come part pf the exhibitions and landscape, visitor with the realities that were faced 
voicing personal experiences of Apartheid during Apartheid. exhibitions augment this 
(Mashabane & Rose, 2014: 14). through photographs and documents. The 
museum also has an archive function that 
Materials used in the architecture becomes stores documents, portrayed visually in the 
part of the Apartheid narrative, seen in the museum.
use of the stark contours of stone, the rust-
ed steel, red brick, wood, glass and concrete 
(Davie, 2005: online). 
LeSSONS LeARNT:
Route becomes the narrative
Archive is separated from public exhibitions
Architecture is an experiential tool 
landscaping is vital to the sensory experi-
ence of the function
Scale and materiality reflect context and in-
tended experience of spaces
Clear, definite route
Circulation design vital to projects success FIgUrE 59: Arrangement of functions 
(sketch by author).
FIgUrE 58: Archive plan (Drawing derived from 
Joubert, 2009: 126).
FIgUrE 60: Museum plan (Joubert, 2009: 126). FIgUrE 61: Irony of context (sketch by author).
23
2.5.2.2 JEAN MArIE TJIBAoU CULTUrAL CENTrE, 
RENZO PIANO 1998 NEW CALEDONIA 
SIMILAR BUILDINg Type & expReSSINg TRADITION IN A MODeRN LANgUAge
The Cultural centre celebrates the Melanesian Culture A better understanding of the culture made it possible 
of the Kanaks. The project is inspired by this tradition, to design a structure that fit into its context. The cul-
realized through modern technology. Piano illustrates ture’s intimate relationship with nature is reflected in 
how architecture can be a threshold between histo- the way in which the architecture uses the climate and 
ry and the present. An in depth investigation into the nature to inform its morphology and sustainability. The 
Kanak culture, particularly with regard to its history, morphology was also derived from the traditional huts, 
environment and beliefs, informed the design  process realised through modern means of construction (Ondej 
(Ondej Zloský: online). Zloský: online). The project is a cluster of huts with sur-
rounding spaces filled with trees, reminiscent of Kanak 
villages. The connection between the huts also played 
FIgUrE 62: Sketch derived from Piano’s drawings (Ärkitekcher, FIgUrE 65: Study of indigenous shelters, sketch derived from (roth, 
2016: online) 1897: online).
FIgUrE 63: Programme of project (sketch by author) FIgUrE 66: reinterpretation of old layout (sketch by author).
AccOMMODATION
exhibitions FIgUrE 70: Structure deconstructs vertically (ondej Zloský: 
online).
Research
library
Amphi-Theatre
Auditorium
Studio’s for Painting, 
Sculpting, Dance & Music
FIgUrE 64: Plan layout (Clouter, 1998: online).
24
‘The return to tradition is a myth ... . No people has ever achieved that. The 
search for identity, for a model, I believe it lies before us ... . our identity is be-
fore us’: Jean-Marie Tjibaou
a vital role in the experiential quality of the village. The agonal rod ties of stainless steel. The wood will gradu-
path gently curves, following the axis of the peninsula, ally weather to resemble the colour of the tree trunks 
introducing visitors to the flora of the area and its mys- in the context (Ondej Zloský: online).
tic meanings.
No mechanical air conditioning is necessary as a re-
each hut houses a different function that contributes sult of the highly efficient passive ventilation system, 
to the success of the overall ‘village’. The construction which includes a double outer facade, allowing air to 
is termite-repellent iroko timber ribs and slats that circulate between the layers of slatted wood. Adjust-
require little maintenance (Ondej Zloský: online). The able louvers regulate the air flow (Ondej Zloský: on-
ribs are structurally joined by horizontal tubes and di- line). 
FIgUrE 69: Sketch derived from (Tsirangelos: online)
IMpORTANT cONSIDeRATIONS:
Topography of land 
use of Indigenous plants
Addressing the climate through architec-
ture
Architecture: a threshold between past 
FIgUrE 67: Architecture informed by climate and nature, sketch de-
rived from (Clouter, 1998: online). and present
Initiate relationship with nature through 
design
Activation of spaces around structures
In-depth cultural investigation
Sustainability
low maintenance
FIgUrE 72: Construction of FIgUrE 73: (Clouter, 1998: online).
‘huts’ (Clouter, 1998: online).
FIgUrE 68: Site plan, sketch derived form (ondej 
Zloský: online).
FIgUrE 71:  Center on site 
(Clouter, 1998: online).
FIgUrE 70: Structure deconstructs vertically (ondej Zloský: 
online).
25
2.5.2.3 NELSoN MANDELA YoUTH & HErITAgE CENTrE
stAuCh & vORstER ARChItECts, 2007, EAstERN CAPE
The client undertook to have a building de-
signed in honour of Nelson Mandela in the area 
in which he grew up. Mandela suggested that 
the building take the form of a community cen-
tre in which the local people could be involved, 
and that young South African children visit the 
centre and experience the rural way of life en-
joyed by him in his youth (Joubert, 2009: 390). 
FIgUrE 74: Sketch derived from (Joubert, 2009: 390). The site bounds on the remains of his primary 
school buildings at upper Qunu and overlooks 
his home. Drawing from the local vernacular 
architecture, the buildings were designed in a 
language of steel framed support structures 
with soft-formed walls enveloping the back 
and sides with a view of the beautiful lower 
Qunu valley. Various natural textures were 
employed to imbue scheme with a sense of 
warmth and softness contrasting with the hard 
lines of the steel framework. 
Accommodation:
Museum 
2 Community Halls
Resource Centre
2 Craft manufacturing buildings
FIgUrE 73: Design ordered similar to the built context, Administration Centre
Sketch derived from (google Earth, 2016: online). Restaurant
Sports Hall 
Ablutions
ReLeVANce Single and Double Storey Rooms 
Dining Hall.
Similar context FIgUrE 78: Exhibition view over landscape (Jou-
Strong Community Axis bert, 2009: 390).
Built among historical struc-
tures
19 Parking bays + 1 disabled
fragmented functions reflect-
ed in context
FIgUrE 74: Qunu village (Mtyeku, 2012: online).
FIgUrE 79: Courtyard (Joubert, 2009: 390).
FIgUrE 76: Land-
FIgUrE 75: (Mtyeku, 2012: online). scape of QUnu village 
(Mtyeku, 2012: online).
FIgUrE 80: (Joubert, 2009: 390).
26
FIgUrE 83: Sketch derived from (Joubert, 2009: 390).
FIgUrE 78: Exhibition view over landscape (Jou- FIgUrE 84: Site specific- the form encourages movement 
bert, 2009: 390). Sketch derived from (Joubert, 2009: 390).
FIgUrE 81: View over landscape (Joubert, 2009: 390).
FIgUrE 79: Courtyard (Joubert, 2009: 390).
FIgUrE 82: Heritsge Center in landscape (Joubert, 2009: 390).
FIgUrE 80: (Joubert, 2009: 390).
27
2.6 topoLogy
peOpLe
With the settlement’s population 
mostly made up of Sotho and Tswana cul-
tural groups, traditional rituals and customs are 
important for the community of Thaba ‘Nchu. The 
transportation network, which is currently being updat-
ed, is one of the key mechanisms that drives the sparsely 
urbanised town today. A considerable percentage of people 
residing in the town works in Bloemfontein and uses buses or 
taxi’s as transportation daily.
Due to the past effects of colonialism and Apartheid, the set-
tlement has adapted to a westernied society. Where the set-
tlement was once ruled by its chief, today, the government 
administrates the town, leaving little space for the tradi-
N tional council to encourage the practice of culture and 
tradition in the settlement. As a result, the tradi-
tions of the community, along with its rich his-
tory are slipping away from the memory 
of the people.  
28
S I T e
FIgUrE 85: Nolli diagram of context around site THABA ‘NcHU
country :            South Africa
province: free State
Municipality: Mangaung
Area :       36.39 km2 
population 
 Total              70,118
 Density             1,900/km2 
Racial makeup 
  Black  98.9%
  Coloured 0.4%
  Indian/Asian 0.3%
  White          0.2%
  Other      0.2%
First languages 
  Sotho           46.8%
  Tswana 40.1%
  english 3.9%
  Xhosa  3.8% 
FIgUrE 86: View of site (2016).
29
NexT T O MS O
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e 
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 HOL
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HOLDINS 
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AxI HOLD: T IND g
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sEttLEmENt
FIgURe 87: View of Thaba ‘Nchu Mountain (2016)
Thaba Nchu, one of the oldest settlements in the 
free State, is situated below the Thaba ‘Nchu 
mountain. The town is located 60 km east of kROONSTAD
Bloemfontein and was settled in the 1830s. Thaba 
‘Nchu grew in size following the 1913 Natives’ land 
Act that declared Thaba ‘Nchu as a homeland for BeTHLeHeM
Tswana people.
BLOeMFONTeIN
THABA 
‘NcHU
LeSOTHO
SMITHFIeLD
FIgURe 88: View of Thaba ‘Nchu Mountain (2016) FIgUrE 91: Location of Thaba ‘Nchu in the Free State (google Earth: online)
Much of the surrounding land is arable, and which 
has been used for large-scale commercial and 
subsistence farming.
FIgURe 89: View of Thaba ‘Nchu Mountain (2016)
The population is largely made up of Tswana and 
Sotho people. for the Community, Thaba Nchu 
and the mountain are their ‘spiritual home’ (Thaba 
‘Nchu: online).
FIgURe 90: View of Thaba ‘Nchu Mountain (2016)
Though the town falls under the jurisdiction of the 
Bloemfontein centered Mangaung Municipality, it is 
still governed by the Royal family, the Moroka’s, as 
tribal traditions are still practiced today. FIgUrE 92: Boundary of the town (rev. Motibi, 2016: interview)
32
BlOeMSPRuIT
FIgUrE 93: Thaba ‘Nchu to the East of Bloemfontein with 
proposed plans to centralize the settlement.
cLASSIcAL LANDScApe
FIgUrE 94: Settlement at the foot of the mountain The physical setting of Thaba Nchu 
can be classified as a classical landscape ac-
cording to Christian Norberg-Schulz (1980:45-47). 
He describes this landscape as a composition of distinct 
elements that include mountains or hills that are clearly de-
fined and rarely covered, apparent in Thaba Nchu Mountain and 
hills in the settlement itself, forming natural valleys that appear as 
natural worlds. The ‘Black Mountain’ (named for its shadow) presides 
over the town which is situated in an otherwise flat landscape. These 
distinct elements, with varied and continuous ground, and a high and em-
bracing sky, generates light that is strong and evenly distributed. With the 
light and transparent air, forms are given a sculptural presence and the con-
FIgUrE 95: cardo decomanus- a western crete presence of the landscape is not lost while it receives light. There is a 
influence on the settlement significant relationship between humans and nature. Nature complements 
our being, and we settle where nature guides us to, seen in what appears to 
be disorder in Thaba ‘Nchu. The settlement was formed around the rivers 
in the valley and on the hills for surveillance.
Thaba ‘Nchu is a sparsely-urbanised area. The majority of the in-
habitants grow their own crops on their land and own some cat-
tle, sheep or chickens. The area surrounding the settlement 
has been used for large-scale farming, both commercial 
and domestic in nature. 49 villages surrounding the 
settlement functions independently from the 
town, yet comply with the tribal tradi-
tions set by the royal family.
33
Dr MorokA HoUSE
- now a museum
Ereskuld
gift to Barolong 
from 
Voortrekkers
rUINS oF A 
CHIEF HoUSE
SITE
The Barolong and english 
dwelled together and wel-
comed the voortrekkers as their 
allies. The settlement became the 
meeting place for the Voortrekkers, rUINS oF 
Barolong and english. These culture HoUSE FroM 
groups lived peacefully together for 1800’S
many years until the Basotho wars, 
colonization and the Apartheid 
regime devastated the rela-
tionship.
MorokA  grAVE
wESLEYAN 
CHUrCH
kgoTLA
Dr MorokA PLACE oF BIrTH- 
ironstone construction
Boo- SELEkA 
SYMBoL- kUDU
N
34
h I s t o r I c   b E A c o Ns
SeTTLeMeNT pATTeRNS
FIgUrE 96:  Development around Sepane river FIgUrE 99:  Voortrekker Monument on 
Moroka Farm
This memorial commemorates 
MOST VegeTATION gROW the voortrekker alliance with the 
AROUND RIVeR Barolong Boo- Seleka and where 
the first voortrekker government 
was inaugurated.
FIgUrE 97: growth around water source
BAROLONg VILLAge 
pATTeRN
FIgUrE 100: Barolong & Missionary Monu-
ment at kgotla
The marble monument is a re-
minder of all the Barolong Boo- 
wESLEYAN Seleka chiefs since Thaba ‘Nchu 
CHUrCH was their homestead. The mon-
ument includes the missionaries 
that helped establish the town.
FIgUrE 98: Barolong settlement pattern according to rev. Mothibi (2016) No remnants remain of 
original hut settlement patterns in Thaba ‘Nchu. recently anthropologists discovered ruins at a FIgUrE 101: Monument at Cultural 
village at the foot of the Thaba ‘Nchu Mountain. Center 35
LAND USe SpAcTIAL pATTeRN
ABANDONeD
SITE
SITE
residential Space not accessible to 
pedestrians
recreation
Vehicle access
Commercial
Buildings
open Spaces
Spaces accessible to 
Cemetry
pedestrians
School
Hospital
Police Station
DeReLIcT AReAS RUINS
SITe
SITE
N
36
eRVeRN & LANDFORM MAjOR ROADS: 
SITE
SITE
layout of erven are determined by the The site is on the corner between two 
landscape: where the land is more level, major roads
in this sense, erf boundaries seem ran-
dom with no apparent grid
cLASS SepeRATION RIVeRS & DAMS
CE
SP
A
EN
 
E
Tw
 BE
IN
 AN
 
E A
S
SIT
37
urbAN spAcE 
Small shops develop on 
boundaries of major roads
FIgUrE 102: Sparsely-urbanised context towards the site.
FIgUrE 103: open spaces in settlement used as taxi / bus stops
enter Thaba ‘Nchu with 
Brand Street into cBD
FIgUrE 104: Entering Thaba ‘Nchu from Brand St
FIgUrE 105: FIgUrE 106: FIgUrE 107: 
Historic meeting place Spaces close to trading areas Spaces close to taxi ranks 
for tribe: kgotla are gathering space presently. also gather the community
38
FIgUrE 108: Thresholds in the settlement
FIgUrE 109:  Perspective of Brand St
STReeT VIeW: BRAND STReeT
FIgUrE 107: 
FIgUrE 110: Shopping center in Brand St. Parking area used as taxi holding space.
STReeT pLAN: BRAND STReeT
39
INstItutIoNs
FIgUrE 112: 
eReSkULD Ng cHURcH: RUIN
FIgUrE 111: 
Ng cHURcH:
STILL UTILIzeD
FIgUrE 113: 
OLD MeTHODIST cHURcH:
STILL UTILIzeD
40
ScHOOLS
The missionaries and Barolong es-
tablished the first Black school in the 
free State. King Moroka encouraged 
education, emphasising the notion 
that it was the true lasting legacy 
that various generations must defend 
at all times (Rev. Mothibi: interview).
TRADITIONAL cOUNcIL
FIgURe 114:  First Black In comparison with the government, the 
School in the Free State Traditional Council does not have any 
power over Thaba ’Nchu, yet it provides 
council and some rules to which the 
community has to adhere in an attempt 
to preserve its culture. The Traditional 
Council houses offices for leaders of the 
49 villages as well as the Royal family. 
Cultural issues that pertain to mar-
riage, grants, funerals and coming-of-
age are dealt with at the Traditional 
Council.
cULTURAL ceNTRe
The Mmabana Cultural Centre encour-
ages local artists to depict works of life 
in the free State under the supervision of 
FIgURe 115: Traditional council Richard letsatsi Bollers. The Centre is a 
place for the community in which to learn 
and voice their stories. It may be desirable 
for the proposed project to collaborate with 
the Cultural Centre to artistically voice sto-
ries of present-day Thaba ’Nchu.
TOWN HALL
The Town Hall is located at the South-
ern edge of Thaba ’Nchu. Traditional 
leaders conduct meetings there with 
the community, and celebrate Moroka 
Day.
Moroka Day is celebrated annually on 
6 December. It is common practice that 
on that day, the Barolong tribe comes to-
gether to share its history. Here, members 
FIgURe 116: cultural centre of the tribe slaughter cows, brew African 
beer, and cook traditional food while per-
forming traditional dances and songs.
The day celebrates the arrival of the 
Barolong in Thaba ’Nchu in 1833. On this 
day, the younger generation is taught 
about the history of the Barolong-boo-
Seleka, their cultural practices, songs, 
respect and animals. This celebration 
ensures that the culture is preserved 
and passed on from one genera-
tion to the next. ‘What better way is 
there of gaining self-assertiveness and 
identity than knowing your roots and 
therefore who you are?’ asks Rev. Mothibi 
(2016).
FIgURe 117: Town Hall 41
h o u s E
“The House is a physical place that all humanity can iden-
tify with, a manifestation of the soul, where memory and 
experience are manifested into poetry.” - Bachelard, 1994
FIgUrE 118: Typical Barolong settlement, derived from 
(walton, 1955: online).
Thaba ‘Nchu contains various 
types of houses, all of which 
provide evidence of the various 
cultural groups that have lived 
FIgUrE 119: Sketch by author
here. Ruins of huts are evident 
in the villages around the settle-
ment. The stone-hut villages in 
Thaba ‘Nchu were demolished 
as a result of the forceful remov-
als that started under the Colo-
nial rule and continued under 
Apartheid. These demolished 
homes contained stories and 
memories that have been bur-
ied along with the demolition.
Victorian and Cape Dutch style 
houses are found within the 
settlement, among the simple FIgUrE 120: Typical Barolong hut derived from (wal-ton, 1955: online).
modern houses. Recycled cor-
rugated iron homes are also 
scattered across the settlement.
FIgUrE 121: Extrapolating the hut, sketch by author.
FIgURe 122: VIeW OVeR THABA ‘NcHU FROM SITe (2016).
42
FIgUrE 123: Parsonage- Victorian style in Victoria Street.
FIgUrE 126: ruins of a house i Victoria Street
FIgUrE 124: James Moroka old house- Cape Dutch style. FIgUrE 127: Modern houses in the settlement
FIgUrE 125: Extrapolating the hut, sketch by author.
43
sItE ANALyIsIs
FIgUrE 130: 
1. cHIeF HOUSe
2.
1.
3.
4.
N
FIgUrE 128:  Proposed site
FIgURe 129: View over site
44
FIgUrE 130: FIgUrE 131: FIgUrE 132: FIgUrE 133: 
2. FIRST FRee STATe 3. eReSkULD Ng cHURcH 4. TRADITIONAL 
BLAck ScHOOL cOUNcIL
THE VoICE oF THE SITE
I am standing in front of ruins protected by a hill at the edge of Thaba 
‘Nchu. To my left I see an empty Victorian house with crumbling plastered 
brick walls and remnants of a corrugated iron roof that re-veals the timber 
construction underneath. The concrete floor peels away to make way for 
nature. Ahead of me the remains of a stone foundation are barely visible 
between the rubble and growth of the earth. What contribution did this 
building make towards the place?  Behind these remains is a vacant school, 
elevated onto the side of the hill. The tiled floor is covered with debris and 
discards of plaster, peeling away from the fabric of the clay brick walls. 
To my right are the ruins of an NG church, the pale beige walls of which 
are stained by nature, the dust strewn floor with fragmented wooden floor 
boards is illuminated by the sun through a series of large grimy windows. 
The ruins are connected by a ground path of earth and debris of the ruins. 
The scene becomes picturesque with the backdrop of a hill and cattle, the 
ruined, dead ‘things’ unite and resurrect in their subliminal aesthetic.
45
t E x t u r E s
rICk IS B CoM
CE M
FA
oNL
D Y 
 I TrU
orS SSo ES
 D  I F
Er
CATTErED
E S
 ACr
 Ar
oSS T
IN
S HE
NATUrE EME UrgES 
MMONLy O USeD 
 IS
 c AS
e  A B
TO
N UIL
S D
rETE FENCE
oN
C
 C
46
IRON
TIMB
IoN &T  rHI YTH
PIT ME  Ir N
THE rEM
r
NA ENTS oF r
E
IT
L rED BrICk
ABA ‘NCHU
EA
H  rE
V
N TI To 
AL S
 
E
SI
T
 
S A B
UILDIN
A g  MA
ED T
US
ErI
rUMBLES oC F F TH  THE 
rUINS o
TE
r E N r oF  TU H
LA
S I TN U E o SP
AL IN OLDI eReR
 STRU
MA
T cT
g 
URe
IN S
S
AM
E
r
ClIMATe 
FIgUrE 134:  Average Temperature & precipitation FIgUrE 135: Temperature distribution
The climate in Thaba ‘Nchu is warm and temperate with an average annual midday temperature of 28,5°C in 
summer and 15.4°C in winter. Rainfall is significant in Thaba ‘Nchu, even during the driest months, with an aver-
age annual rainfall of about 629mm. Temperatures are at their coldest during July and at their warmest during 
January, with the majority of rainfall occurring during summer (Climate, Thaba ‘Nchu: online).  The climate in 
this region suggests certain design tools to be considered in the proposed project. large roof overhangs that 
address the heat, passive ventilation, a well insulated structure to counter extreme temperatures, re-using or 
harvesting water are some design tools that may be considered.
FIgUrE 136: FIgUrE 137: FIgUrE 138: FIgUrE 139: FIgUrE 140: 
elephantorrhiza                  Searsia erosa               Searsia lancea                    Bouteloua                 Bouteloua 
 elephantina                                                                 gracilis                             dactyloides
  (Baswortel)                     (Besemkaree)                      (Karee)                   (Blue Grama Grass)       (Buffalo Grass) 
VeGeTATION
The vegetation in Thaba ‘Nchu is mostly classified as grassland, the main species being Hyparrhenia hirta and 
Sporobolus pyramidalis, among other grasses and herbs. little trees and shrubs thrive as a result of heavy graz-
ing and recurrent fires during the dry season, yet Thaba ‘Nchu has a few adventitious trees that were planted by 
the Missionaries and Voortrekkers. landscaping may become a significant design tool in the proposed project 
as a way of integrating the natural landscape with the built. In this regard, using vegetation that is indigenous to 
Thaba ‘Nchu will consider the natural environment. 
FIgUrE 141: Site section
47
s I t E  v I E w s
N
48
1 .
FIgUrE 142: Site with church and school in foreground
2.
FIgUrE 143: Site with old chief house in foreground
3 .
FIgUrE 144: Site’s view over Thaba ‘Nchu to the west 
4.
FIgUrE 145: Site’s viewof Thaba ‘Nchu to the South
49
s I t E   s o L A r   s t u d y
FIgURe 146: FIgURe 147: 
SUMMeR 9AM WINTeR 9AM
N N
0 100 200 0 100 200
m m
FIgURe 150: FIgURe 151: 
VeHIcULAR & peDeSTRIAN MOVeMeNT geNeRATORS AReA cLASSIFIcATION
50
FIgURe 148: FIgURe 149: 
SUMMeR 5pM WINTeR 5pM
Site is located on an area 
purchased by the NG Church
N
0 100 200
m
FIgURe 151: FIgURe 152: 
AReA cLASSIFIcATION LOcATION OF SITe IN 
51
FIgUrE 153: FIgUrE 154: 
exISTINg USe OF exTeRIOIR SpAceS VeHIcULAR cIRcULATION pATTeRNS
N
0 100 200
m
52
FIgUrE 155: 
ARcHITecTURAL STyLeS IN THABA ‘NcHU
53
cONDITIONS OF STRUcTUReS ON AND cLOSe TO SITe
The site, i.e. Thaba ‘Nchu, contains many ruins. A possible cause of this 
phenomenon may voice the devastation to which the settlement has been 
subjected. These ruins contain memories of what the structures have seen 
over time. They are evidence of the past that has been forgotten, and have 
become chapters in the story of the place, as they leave behind traces of 
past times, cultures, rituals and people. These ruins may pose both excit-
ing opportunities and challenges in terms of the proposed project.
FIgUrE 156
N
0 100 200
m
54
FIgUrE 157
N
0 100 200
m
MOVeMeNT & TRANSpORTATION ON AND cLOSe TO SITe
Pedestrian movement through the site is constant, though not consider-
able. The site becomes the bridge between the residential areas in the 
settlement, and the CBD where the taxi ranks are situated. Commuting is 
an important ritual in the lives of the residents of Thaba ‘Nchu, as most use 
taxi’s or buses to go to work in Bloemfontein. The daily ritual of walking to 
the bus station or taxi rank and waiting for transport should be considered 
in the project as these gathering spaces voice stories of present life in 
Thaba ‘Nchu.
The community contributes to the movement on the site throughout the 
day to visit the Traditional Council for advice or permission for grants, 
and to the South African Social Security Agency (SASSA) building where 
grants are awarded. In this regard, attention should be  drawn to circula-
tion spaces in the design of the proposed project to augment the present 
functions and daily rituals on the site.
55
SpAce AROUND THe SITe
Open spaces on and around the site offer design opportunities, which 
may contribute as an element of place-making that is currently missing 
within the area. The site is located within an area that may be perceived 
as an ‘in-between’ area in Thaba ‘Nchu, i.e. between the areas allocated 
to the Black and White communities during Apartheid, between differ-
FIgUrE 158 ent socio-economic community profiles, and between different archi-
tectural styles. These considerations offer challenges which the design 
N can look to address and pose an opportunity for the proposed project 
0 100 200
to weave all these traces of different stories together and integrate the 
m segregated voices.
56
FIgUrE 159
N
0 100 200
m
SITe DRAINAge
Drainage on the site may pose challenges with re-
gard to the design. No provision has been made for 
water run off in the area and, as a result of the hill 
being located to the north of the site, the lower parts 
of the area have become a wetland. This may provide 
an opportunity to incorporate water harvesting and 
storm-water channeling in the design.
57
2.7 morphoLogy
from the typological and topological investigations conducted thus far, morphological considerations arose 
which pertain to giving form to the building, which may assist in shaping the design. In terms of the conceptual 
framework identified in this dissertation, these considerations may be used as a point of reference in formulating 
ideas in order to approach the design of the project in a unique manner. Certain associated ideas and interests 
arose from these considerations which were investigated and grounded in literature and previous studies. An 
earlier study that communicates comparable morphological aims in terms of the proposed project was inves-
tigated as a way of gaining understanding with regard to how orthodox approaches to the design of museums 
and archives may be questioned.
2.7.1 MorPHoLogICAL  PrECEDENT:  a new morphological approach to a house
cOROMANDeL eSTATe MANOR HOUSe, Lydenburg, south africa, Marco zanuso 1975
The house - an intimate space, protecting the day-dreamer, allowing one to dream in peace- Gaston Bachelard (1994)
FIgUrE 160:  Thresholds between parts of the house (Hidden Architecture: online)
FIgUrE 163: (Hidden Architecture: online)
FIgUrE 161: Architecture frames exterior environment (Hidden Architecture: online)
FIgUrE 162: (Hidden Architecture: online) FIgUrE 164: Materials from context (Hidden Architecture: online) 
58
Architecture embodies our memories. Bachelard sug- The house appears to emerge from the foothill, its mor-
gests that memories are anchored in space, where the phological approach emanating from the response to 
house becomes an enclosed location of our memories the  landscape. Its long narrow form stretches into the 
(Van Schaik 2002: 9). In this sense, the house may landscape, with heavy arches anchoring the structure 
be viewed as a ‘safe’ space that protects thoughts, and becoming thresholds protecting the interior spac-
dreams and memories. es from the vast surrounding veld (Peres, 2016: 34).
The Coromandel House by Marco Zanuso is an ex- local material is used, namely stone for the walls and 
ample of such an intimate space. This farm may be timber for the floor finish which reinforces the dia-
viewed as an embodiment of a ruin that has seamless- logue between the built and the natural. Deep shaded 
ly adapted to and fused with its natural environment. veranda’s and windows, respond to the harsh climatic 
It is enigmatic in that it voices traces of stories, being variations of the area (Peres, 2016: 33).
part building, part landscape and part historical trag-
edy (Peres, 2016: 32). The house can be described as a dramatic manipu-
lation of the landscape that offers practical, periodic 
The farm house is situated on the foothills of Mpum- shelter within its organised spaces and rational lines. 
alanga’s landscape. The milieu consists of extensive Deeply rooted in Zanuso’s architectural ethos, his re-
open fields, hills and rivers, similar to that of the pro- gard  for context, typology, image, spatial organisa-
posed project, also located to the foot of a hill, with tion and rational technical construction is revealed in 
open fields to the north and a river to the south. all layers of the design (peres, 2016: 33).
Contributing to the success of this house is the inti- The relevance of this house in terms of the proposed 
mate relationship the architecture shares with the project relates to how the coromandel House emerges 
landscape. The architect reacted to the harsh South from the landscape as a mysterious sculptural shelter, 
African climate by designing a structure that provides which captures the voice of the place in which it is lo-
extensive shade through courtyards and deep porch- cated. Traces which contribute to the voice are found 
es, coolness, greenery and water. in the use of local material, the form and the scale of 
the structure, as well as its reaction to the climate. 
FIgURe 165:  gROUND FLOOR pLAN (peres, 2016: 34).
Lessons learnt:
Architecture consults the genius loci of the place 
Unique interpretation of typology
Use of materials contribute to the story narrated by 
the architecture
FIgURe 166:  Structure ‘emerging’ out of landscape (Hidden Architecture: online)
59
2.7.2 LItErAry dIscoursE
fferent 
na
di rr
g n iv
c e
v raoicing & t
Considering the problems and aims that experiences, rituals, etc, just as ruins are 
have been identified by the client and containers architecturally. Furthermore, 
nature of the project in a specific milieu, I became increasingly interested in 
a research statement is posed in order to clarify the work of John ruskin, an English 
the intent of the dissertation, provide direction with critic of art, architecture, and soci-
regard to literary exploration, and realise a possible ety (1819-1900), and robert ginsberg, 
architectural solution. The research statement led to a Professor Emeritus of Philosophy & 
the investigation of certain relevant notions, quanti- Comparative Literature, who suggest 
tative and cognitive analysis, as well as precedents to that ruins are aesthetic re-interpreta-
reinforce the course of the design process to produce tions of the history of a place and its peo-
the best possible solution for the project. ple; what seems to be dead or forgotten is revived by 
identifying new entities that may be enjoyed. Edward 
This dissertation aims to voice and trace different nar- Casey, the author of Public Memory in Place and Time 
ratives through the exploration of place. (1986), explains that there are various components of 
memory within a place and time, namely; individual 
memory, social memory, collective memory and pub-
The ideas identified in the research statement, which 
lic memory, these memories are concerned with the 
arose from the site analysis, called for a greater under-
individual within a place, as well as the community as 
standing of the notions of ruin, memory, place, and nar-
a whole. The memories become stories that allow the 
rative identity. In order to understand the landscape 
now to come to terms with the past, and suggest cer-
of Thaba ‘Nchu for this treatise, I studied the Concept 
tainty for the future. Exchanging Memories by richard 
of Dwelling by Norberg-Schulz (1985), who identifies a 
kearney (2007) brought the concepts I had of place, 
place through the analysis of the settlement itself, the 
ruin and memory together in a narrative identity. Indi-
urban space, its institutions and finally the house of its 
vidual memories become ‘stories’, contributing to the 
inhabitants. Though I understood Thaba ‘Nchu better 
identity of a place instead of a general meta-narrative. 
as a place by applying Norberg-Schulz identification 
The story of Thaba ‘Nchu could be remembered by the 
and orientation of a place to the settlement, it ne-
ordinary people who live in the place and portrayed 
glected the main problems encountered in this study. 
architecturally through The House of Memory as the 
Bloomer and Moore (1977) refocused my thoughts with 
forgotten narratives of Thaba ‘Nchu.
regard to the importance of the individual within a 
place, the body as a container of memories, culture, 
60
i
 of place
oration
h t
he ex
g pl
s throu
at
RUIN: A NARRATIVe IDeNTITy IN MeMORy
The Oxford Dictionary defines ‘ruin’ as permanent dev- We experience place and architecture through our 
astation. It is a way of reducing a building or place to bodies. Our bodies become the central point of expe-
a state of decay, collapse or disintegration (Ruin, 2016: rience, without which we would not be able to shape 
Online). This negative connotation of the word is op- or define place. Merleau-Ponty describes place as the 
posed by Ginsberg’s definition. He argues that a ruin is ‘means whereby the position of things become pos-
the irreparable remains of a human construction that, sible’ (Merleau-Ponty, 2006:284), while the theory of 
by destructive act or process, no longer dwells in the Bloomer and Moore (1977) suggests that architecture 
unity of the original, but may have new unities that is the making of place by extending the inner land-
may be enjoyed (Ginsberg, 2004: 285), scape of human beings into the world in ways that are 
comprehensible, experiential and inhabitable. Individ-
Ruin is a mnemonic device used to remember the past: uals create an internal world which is not only distinct 
‘It becomes a reminder of what was, the original, by from and within an external world, but which is cen-
keeping the absent present and thus becomes a cul- tred on landmarks and bodily memories that reflect 
tural representation, an unintended gift of destruction’ a lifetime of events encountered outside the physical 
(Ginsberg, 2004: 288). A ruin can be seen as a symbol body as a boundary (Bloomer and Moore, 1978:11). Al-
that speaks of life that comes out of death and devas- though we cannot see the inside of our bodies, we de-
tation, where the old becomes the foundation for the velop memories of an inside world that include a col-
new, bringing that which is buried and forgotten back lection of experiences taken from the environment and 
to life. Consequently, they became noble, truthful, and etched into the feeling of our identities over a lifetime 
tangible results of the pass- of personal encounters within the world. We populate 
ing of time (Wheeler, our inside worlds with the people, places and events 
1992: 13), a contribution that we ‘felt’ at one time in the outside world. Our bod-
to the character of a ies become experiential containers that are unlocked 
place and evidence through the memory of certain places and their archi-
of man’s existence tecture. In turn, the memory of places becomes central 
in a certain context. to our sense of self; they become an extension of and 
A ruin is a ‘treasury’ are woven into our personal identities.
waiting to be un-
locked to reveal a nar- It can be said that architecture and the making of 
rative hidden within place is a result of the inner world of humans, being 
(fig. 167). Similarly, projected to the outer world, physically in the form of 
the body can be structures and psychologically in the form of political 
seen as a ‘contain- ideals, etc. The inner world can therefore change the 
er’ of memories. exterior world, leaving behind evidence of past worlds. 
Consequently, a place should not be considered ac-
cording to a broad idea or reduced to a stereotype. 
FIgUrE 167:  ruin as a treasure chest (sketch by author) Rather, it should become familiar through the stories 
and rituals of individuals who live there. 
61
FIgUrE 168:  THABA ‘NcHU IN A BASIN, AT THe FOOT OF THe MOUNTAIN
ReVIVAL OF pLAce THROUgH STORIeS
In order for humans to recognise or identify himself memory itself is only to be approached in and through 
within a place, that which sustains a place, i.e. the place, we cannot approach place independently of 
character, or voice of the place should be better under- memory. Consequently, memory is the narrative that 
stood. Norberg-Schulz describes a place as a ‘space brings about a greater connection between people 
which has a distinct character’ (Norberg-Schulz, 1980: and place.
5). Memory becomes part of the notion of place as il-
lustrated by lyndon who describes a place as a space Remembering  Place through Stories
that can be remembered, imagined, contained in the 
mind and be considered (lyndon, 2009:6). This expla-
In order to conceive of Thaba ‘Nchu as a place, its 
nation advocates the idea that the voice of a place is its 
people, history, buildings, natural environment and 
narrative, which is comprised of layers of history, cul-
symbolic and existential meanings in the cultural land-
ture, ritual, and people; ultimately, its unique character 
scape, need to be investigated on a personal level to 
includes the relationship between natural ecosystems 
prevent over-generalised opinions. 
and people. What may be perceived as a ruined place 
for some may be regarded as home for others, relative 
to each individual’s memory of the place. My initial perception of Thaba ‘Nchu as a place was 
that it is a small, informal settlement that developed 
as a result of the Apartheid regime. I quickly realised, 
however, that my perception of the place had been 
To remember is to be emplaced, and to be emplaced is highly inaccurate. Thaba ‘Nchu should rather be iden-
to remember (Cruz-Pierre and landes, 2013 :71) tified and remembered by those who live there. Rich-
ard Kearney states that ‘narrative identity operates 
The body is an archive composed of memories of lived at the level of both individual and communal identity’ 
time and place. Accordingly, it serves to orientate (Kearney, 1995:182). The voice of Thaba ‘Nchu depends 
and direct so as to better understand the self. Mem- on the individual stories of those who live there. Ke-
ory and place are dependent on one anoth- e r : arney goes on to explain that ‘stories proceed from 
memory begins in place, whereas place be- stories, just as histories proceed from histories’ 
gins in memory. Casey defines a ‘place’ as a (Kearney, 1995:182). Communities and indi-
physical location in which memories can be viduals within a community come to know 
contained and preserved (Casey, 1986:36). a n d visualise themselves in the stories 
Place never appears differently from how it they tell about themselves. These 
has already been etched into memory, it is on ordinary stories become sacred in that 
the basis of memory that we are oriented, and they are fundamental to the histories of 
it is only as we are oriented that we become Thaba ‘Nchu and will serve to reinforce the identity 
placed. We therefore find ourselves in the and remembrance of the place.
world, which means that we only find our-
selves in and through memory, and although 
FIgUrE 169:  Memory the ‘glue’ connecting 
a person and place.
62
SITe
      3 hills occupied by barolong tribes ttlem
ent
e
ans s
afrika
SepANe RIVeR
BAROLONg 
BOO-SeLekA 
kgOTLA 
eNgLISH MISSION 
FIgUrE 170: Settlement patterns of English, Afrikaans 
& Barolong in Thaba ‘Nchu (sketch by author). STATION
N
0 1,5 3
km
63
FIgUrE 171: Thaba ‘Nchu is built on  Agriculture, Education and reli-
gion according to rev. Mothibi (2016) & Masego Moroka (2016)
THe NARRATIVe OF THABA ‘NcHU
Thaba ’Nchu became a place of settlement in 1833 
when it was occupied by the Barolong tribes together 
with Wesleyan missionaries. The classical landscape is 
emphasised by clearly-defined hills which are rarely 
covered, with the Thaba ’Nchu Mountain as the main 
landmark and backdrop for the settlement. 
The Barolong settlements originated on three domi-
nant hills which were used for the purposes of surveil-
lance. each hill was occupied by a different Barolong 
tribe, with the missionaries establishing their mission 
station in a valley between the hills, a distance from 
the foot of the Thaba ’Nchu Mountain. later, Afrikaans 
people settled close to the Sepane River in the valley, 
evident in the use of water plots (fig. 170). Nature, i.e. 
water supply, fertile land and surveillance, determined 
where man settled and is apparent in the structures 
scattered across the settlement.
Acropolis (Fig. 172): Narrative of Place
An historical example of man’s reaction to a classical 
landscape is the Acropolis in greece, where order is 
found in what appears to be chaos (Fig. 176). The to-
pography of a site informed the architecture. The ar-
chitecture was dependent on the natural environment, 
reinforcing the relationship between man and nature 
which is evident in the ruins that still exist today. The 
Acropolis is a place that provides direction and orien-
tation, even though there seems to be no order. This 
precedent serves as an example of how architecture 
develops from a classical landscape (Fig. 177), a sin-
cere relationship between man and nature, seen in the 
early establishment of Thaba ‘Nchu, which has been 
forgotten along with its history. 
AcROpOLIS  VS.  SITe
MARkeT   
TeMpLe    cHURcH
peDeSTRIAN   peDeSTRIAN
HILL    HILL
cULTURe   TRADITIONAL cOUNcIL
THeATRe   
STRUcTUReS SITeD   STRUcTUReS SITeD 
ReLATIVe TO LANDScApe ReLATIVe TO LANDScApe
FIgUrE 172:  Acropolis, gazing over Athens (The Acropolis in Ath-
ens greece: online)
64
FIgUrE 173: Sketch derived from (Mencher: online).
FIgUrE 174: Sketch derived from (Mencher: online). FIgUrE 175: Sketch derived from (Mencher: online).
FIgUrE 176: Layout appears random, yet ordered. Sketch derived from (Mencher: online).
FIgUrE 177: Sculptural building in classical landscape. Sketch derived from (Mencher: online).
65
THABA ‘NcHU, AN UNINTeNDeD gIFT OF DeSTRUcTION
Initially, a mutual relationship between man and nature 
appeared to exist in Thaba ’Nchu. However, according 
to Rev. Mothibi (interview: 2015), the Basotho wars, col-
onisation and the apartheid regime devastated the 
settlement. Presently, the effects of these events are 
still apparent in the place, particularly as seen in the 
mental and physical barriers in the town, as well as in 
the vast number of ruins throughout the settlement. 
Thaba ‘Nchu was set apart for the Tswana culture in 
Apartheid South Africa (Venter, 1960: 40). People in 
this area were forcefully removed from their homes and 
FIgUrE 179:  Thaba ‘Nchu as a puzzle, Sketch by author.
sent to desolate areas allocated to them, so that the 
more desirable lands could be used by the government 
(Goitsemodimo, interview: 2016). Thaba ‘Nchu may be 
perceived as having been ruined through the force- Presently, the voice of Thaba ‘Nchu, has been forgot-
ful removal of people who ‘dwelled’ within the place. ten. Without investigating its history, few people know 
Bloomer and Moore (1977) are of the opinion that the of its past. Pallasmaa (1995:310) states that ‘we live 
external world is ruined by the removal of each internal in mental worlds in which the experienced, remem-
world (individual with unique story) belonging to the bered and dreamed, and the past present and future 
place. As a result, the voice of the place represented by constantly fuse together’. Where an individual lives 
the individual stories, becomes buried and forgotten becomes part of his or her identity and memory, and 
as a result of imposing political ideals onto a place. determines what, when and how it is experienced, 
shaping the foundation of his or her story. forcefully re-
On the other hand, a place in South Africa that may be moving a group of individuals from a place eradicates 
perceived as having been ruined due to the destruc- a measure of who they are, erasing parts of their story 
tive acts of Apartheid and colonisation may well re- and, finally, a part of the narrative of the place. Micha-
sult in unintended gifts of destruction. from a broader ilidis (2013:2) suggests that memory is the ‘foundation 
perspective, Thaba ‘Nchu may be perceived as one of on which meaning is built. every aspect of experience 
these ruined places. even though Thaba ‘Nch may no becomes enveloped in the process of memory, forming 
longer dwell in the unity of the original, the gifts of de- identity in individuals, ultimately bringing individuals 
struction are found in the stories of those who call this to form the identity of communities’. In this regard, the 
place home. individual gradually loses his or her sense of belonging 
to the place as a consequence of erasing parts of his 
If one were to view Thaba ‘Nchu as a puzzle (fig. 179), or her memory of a place. This phenomenon is illus-
every piece would represent a specific place that fits trated in the ruins and derelict spaces within the set-
into other specific pieces (or places) in order to create tlement, a by-product of the Colonial and Apartheid 
a complete story. This story entails every part of the Regime, reflecting lyndon’s (2009:6) claim that ‘ruins 
settlement, that fits together to form the narrative of are a reflection of our inner landscapes’. These spaces 
the place. The phenomenon that occurred within Tha- need to be transformed into places that encourage the 
ba ‘Nchu is that pieces of the whole had been taken community to ‘write’ new stories and to retell the old 
away forcefully. This process cast away layers of mem- ones, to remember the past in order to come to terms 
ory gained over time, ultimately changing the charac- with it and to build on the future.
ter, or story of the place written over time.
THABA ‘NcHU
FIgUrE 178: 
TSWANA HOMeLANDS
1913: The Native lands Act gives 7.3% of the coun-
try’s land to Africans, who make up 80% of the pop-
ulation. Africans are prohibited from owning land 
outside their region. Africans are allowed to be on 
white land only if they are working for whites
66
cOLONIzATION
ApARTHeID
VOIce OF THABA ‘NcHU
FIgUrE 180: Burying the voice of Thaba ‘Nchu.
tation of Woods’ project does not relate to the char-
The Scar: a Reminder acter of Thaba ’Nchu, yet the metaphor significantly 
contributes to a settlement that had been devastated 
In order to accept the past and hope for the future, by the colonial and apartheid rule.
lebbues Woods developed a metaphor called ‘the 
scar’. This metaphor was extended onto war-damaged extending Woods’ scar metaphor as an architectural 
buildings in the ruined city of Sarajevo. An apartment intervention in Thaba ’Nchu will remind its inhabitants 
building which had been ruined by the war was one of the devastation, while simultaneously promoting 
FIgUrE 181: City during devastation FIgUrE 182: City before it transformation and building an integrated society 
(war and Architecture: online). was devastated (war and through the remembrance of local stories. Architecture 
Architecture: online).
should serve as an aesthetic embodiment of history. 
Woods (online) explains that architecture is a politi-
cal act; it is part of the relationships between people 
and how they decide to change their conditions of liv-
ing. It comes to be the agent of making that change, 
as it has to do with building the environment in which 
the community lives, and the relationships that exist 
in that environment. By implementing an architectural 
action, a transformation takes place in the social and 
political fabric. 
FIgUrE 183: ‘Scar’ on apartment build- FIgUrE 184: ‘Scar’ on 
ing (war and Architecture: online). apartment building (war 
and Architecture: online). Instead of erasing the past, as Woods explains, it has 
to be remembered and built onto. The inhabitants of 
Thaba ’Nchu should be able to revisit their history, to 
retrieve the forgotten parts of their stories and, ulti-
mately, the forgotten story of Thaba ’Nchu, which con-
tributes to the voice and identity of the place. 
A House of Memory for the forgotten narratives of Tha-
ba ’Nchu will revive parts of each person’s story living 
in Thaba ‘Nchu, finally completing story of the place 
and providing blank pages for the stories yet to be 
written. Bachelard (1994:9) asserts that a house is a 
of the structures used by Woods as it had symbolic 
physical place with which all humanity can identify; a 
significance for those who resided there. Woods ob-
manifestation of the soul where memory and experi-
serves that it was impossible to restore the building to 
ence are manifested into poetry. In this sense, an ar-
its pre-siege condition; that the destruction could not 
chive merged with a museum becomes the embodi-
be erased, only surpassed. He designed a ‘scar’ (fig. 
ment of this house of memories as their core purpose 
183 & 184) on the building that would serve as a re-
is to preserve the past in built form.
minder of the wounds caused by the destruction of the 
war, and serve as a point from which to move forward  
(war and architecture: online). The physical represen-
67
FIgUrE 185: Architecture respects site by subtly sinking into the land- FIgUrE 186: ritual in architecture.
scape. Sketch derived from (Wilkinson Architects: online)
The Sarah Baartman Centre of Remembrance in Hankey is an example of how architecture re-members the past in a South African context. 
The aim of the project is to create a place that nar-
rates and documents the life of the Khoi-San culture, 
as well as that of Sarah Baartman through a museum 
and archive. The centre is defined by a circular route 
procession from the informal to the sacred through 
the memory, healing and celebration spaces. What 
makes the project successful is its sensitive ap-
proach to the landscape and climate seen in, e.g. us-
ing local labour and material – rammed earth, taking 
care in the preservation of indigenous plant life. The 
use of sensory experience and textures subtly refers 
to the San people rather than merely imitating the 
culture, making history relevant in a modern soci-
ety. The San culture is embodied within the archi-
tecture and the architecture itself becomes a story.
FIgUrE 187: rammed earth walls. Sketch derived from (Wilkinson Architects: FIgUrE 188: Sketch derived from (Wilkinson Architects: online)
online)
68
MuSeuM
ARCHIVe
AuDITORIuM
ClASS ROOMS
WORKSHOPS 4804 m2
ReTAIl
HeAlING PONDS
STORy PITS
PRODuCTIVe GARDeN
FIgUrE 189: Public & Private spaces FIgUrE 190: Sketch derived from (Wilkinson Architects: online)
69
FIgUrE 191: Classical style of old reflected in new (New FIgUrE 192: New frames the old (New FIgUrE 193: Architecture becomes part of the voice 
Acropolis Museum: online). Acropolis Museum: online). of the place (New Acropolis Museum: online).
OlD NOT AlWAyS 
CONSTANT AWARe Of NeW
CONVeRSATION
NeW AlWAyS 
AWARe Of OlD
FIgUrE 194: Sketch derived from (Minaretiz, 
2015: online).
The Acropolis Museum by Bernard Tshu-mi is an example of how architecture is able to emphasise the old through the 
new. The museum is situated at the bottom of 
the Acropolis hill, providing views of the ruins, 
and calling attention to the history. The form is 
reminiscent of the historical structures, a rect-
angular mass composed of a series of columns 
on a heavy plinth. The structure itself is sim-
ple, built from modern materials and utilising 
modern techniques, and yet it still embodies 
the history of the place. The narrative of the 
ruined is viewed from the glass facades of the 
museum which also house ancient Roman ru-
ins. Tschumi’s contemporary museum frames 
the sacred old which, in itself, is a narrative.
FIgUrE 195: relationship between old & new. Sketch derived from (Minaretiz, FIgUrE 196: Sketch derived from (Minaretiz, 2015: online).
2015: online).
70
FIgUrE 197: key display, an example of FIgUrE 198: Cigarette buds, narrating FIgUrE 199: Photo exhibition (elseplace, 2008: online).
ordinary objects (elseplace, 2008: online). something about the life of the users (else-
place, 2008: online).
“Pamuk describes the relation between the novel and the museum as “The mu-
seum is not an illustration of the novel and the novel is not an explanation of the 
museum. They are two representations of one single story perhaps” (elseplace, 
2008: online).
The story of Thaba ‘Nchu should be told , through the architecture, by the ordinary people residing in the settlement. The Museum of Innocence by 
Orhan Pamuk, a novelist and recipient of the 2006 No-
bel Prize in literature, is a novel that has been brought 
to life in the form of a museum. each chapter of the Stairs form atrium in center- circulation takes 
visitor on a chronological journey through the 
novel is portrayed as an exhibition in the museum, story told by the museum.
including everyday objects that revive the memory 
of a specific time and place relating to the chapter. 
The narrative of the past is brought to life by the or-
dinary objects chosen as an illustration such as keys, 
photo’s or watches. What contributes to the success 
of this museum is that the ordinary stories of people 
are used. The structure itself reminds of the memories 
it contains. using the principles of The Museum of In-
nocence in this dissertation will challenge the norms 
of museums and archives as a building typology. I 
propose using works of architecture to aid the ordi-
nary residents of Thaba ‘Nchu in telling their stories
Section through the house-museum. Atrium 
forms a breathing space for visitor to pause 
in time- to contemplate the narrative of the 
Museum.
FIgUrE 200: Photo exhibition (elseplace, FIgUrE 201: Exhibition (elseplace, 2008: FIgUrE 202: Museum of Innocence in old house (else-
2008: online). online). place, 2008: online).
71
THe VOIce OF THe SITe
The House of Memory for the forgotten narratives of Tha-
ba ‘Nchu will be the place where the old informs the new, as 
in the Acropolis Museum. The architectural intervention will be the 
mnemonic device that remembers the story of Thaba ‘Nchu through 
local narratives. each person who tells his or her story becomes part of 
this ‘memory machine’, gradually reviving identity through remembering 
the story of place.
 
The site is located between the three hills, to the north of central Thaba ‘Nchu 
on a large plot of land allocated as church grounds, largely representing the his-
tory of the settlement in built form. A hill becomes the natural boundary of the 
site. To the Barolong, hills are significant elements in the landscape as villages 
were built at the foot of the hill so that the chief, dwelling on top of the hill, could 
watch over and protect his people. The ruins of the first Black school in the Free 
State, built by the Barolong and the missionaries using clay bricks, is located 
on the site, as well as the ruins of the ereskuld Ng church, reminiscent of 
the cape Dutch-style, and a Victorian style chief house. These ruins, all of 
which are by-products of Apartheid, represents past stories that may 
be confronted and included in the proposed project. The Traditional 
council, the tactic offices of the police and a temporary shed 
housing SASSA offices, appeal to the present needs of the 
community of Thaba ‘Nchu.
CATAlyST
72
WHeRe TIMe AND SpAce MeRge
The House of Memory will delicately add another lay- The morphology of the new will be derived from the 
er to this complex site through architectural language old structures within the context to attempt the making 
that embodies the stories of the cultures within the of meaningful architecture in a specific milieu. The Vic-
place, the history, the modern life and the natural en- torian-style chief house uses brick for construction and 
vironment will present the threshold between the past porches serve as the threshold between the outside 
and present, a story in itself. The ruins on the site are and inside, offering shade against the harsh sun. The 
remainders and reminders of past stories. They be- precinct will attempt to mirror this principle through 
come physical clues that will contribute to the design the constant interplay between private, semi-public, 
in terms of material, size, scale, form and construction. and public spaces reflected in relationships between 
furthermore, these considerations will augment the closed and open spaces that also address the climate 
story narrated by the House of Memory. The architec- conditions. The Barolong constructed their dwellings, 
ture will attempt not to override the historical struc- using ironstone from the area and built their dwellings 
tures. Rather, it should attempt to augment them for in clusters. This will be reflected in the proposed proj-
the successful integration of the old and the new to ect which is informed by the built context, and which 
‘create the new from the damaged old’. furthermore, augments the existing site. The existing structures are 
the House of Memory is aimed at augment the tradi- not ordered according to a grid, but poetically inter-
tional idea of museums in society. acts with the varied landscape. They are all single-sto-
rey structures, long and rectangular in form, which will 
The proposed project strives to be a place where the be reflected in the design of the precinct. Bearing in 
old is reconstructed and remembered, and where the mind the tectonics  of the project, structural decisions 
meaningful new can be inspired. The epochs portrayed will be based on the concept of the new emanating 
architecturally on the site are juxtaposed, the muse- from the old through the use of thick ironstone walls as 
um becomes the connection in time, weaving together the core of the structures, deconstructing into a steel 
what was with the new, reviving the forgotten stories. framework with either corten steel cladding that rep-
resents the new, or recycled galvanised iron reminis-
TRADITIONAL VS.  AUgMeNTeD cent of the construction of the house in the context. 
   
rEPrESENTATIoN  EXPrESSIoN
MoNUMENTS   HoMES
HISTorIES   STorIES
NATIoNS   PErSoNS
groUPS   INDIVIDUALS
INTErNALIZED    ACCESSIBLE
PrIVATE   INTEgrATED
INTroVErTED   PUBLIC
EXCLUSIVE   INTErACTIVE
o L d
N E w
FIgUrE 203: Voice of a Place  revived through stories as mnemonic devices
73
PoSSIBLE LoCATIoN For ProJ- BUILDINgS 
rUINS ECT: CoNNECT oLD & NEw STILL UTILIZED
In order to revive the voice of Thaba ’Nchu, using a 
funeral procession as a metaphor in the design may 
contribute to the remembrance of certain occurrences 
in the place, which will set the memory machine in mo-
tion in order to come to terms with the past and voice 
the story of Thaba ’Nchu. The existing structures on 
the site reveal a definite axis, the voice of the old, rein-
forced by the ruined structures on the site. The ‘funeral 
procession’ should use the ruins on the site to repre-
sent that which is old and which will be remembered 
and voiced through the new emerging from the old. 
The place where the new and the old come togeth-
er represents the voice of Thaba ’Nchu. This may be 
achieved by designing a new axis that intersects the 
old axis. The point at which they meet should repre-
sent the remembrance and contemplation of the sto-
ries of those who live there. A probable location for the 
proposed project is between the ruined structures and 
the buildings that are presently being utilised in order 
to connect the forgotten stories with the present needs 
in Thaba ’Nchu.
FIgUrE 206: Structures & axes on site
In order to orientate and direct an individual on the attempting to disconnect the visitor from the present 
site, the ruins of the old chief house may be used as and drawing attention to the voice projected by the ar-
the point of entry into the precinct. The house may of- chitectural spaces. The House of Memory will attempt 
to connect all the traces of narratives, becoming a con-
tainer of stories like the ruins in the context, yet project 
these stories into the place so that a relationship be 
established between the old and the new may be es-
tablished.
The metaphor of the funeral procession may extend 
into the museum itself. ‘Tombs’ as exhibition spaces 
may narrate the stories that devastated Thaba ’Nchu. 
Sinking the spaces into the ground may illustrate the 
‘burial’ of these stories of which the place needs to be 
reminded in order to come to terms with it. Visualising 
the stories with ordinary objects from that time peri-
od, as in the Museum of Innocence, may augment the 
‘chapter’ being portrayed in the space.
In order for the voice to be remembered after the dev-
FIgUrE 204: old & new axis identified on site. 
astation, oral history from ordinary people residing in 
fer the visitor a sense of familiarity, bearing in mind Thaba ‘Nchu should be voiced. Anthropology offices 
Bachelard’s notion of a house typology as a manifesta- will contribute to the revival of forgotten stories, and 
tion of the soul, a container of memory and experience. preserve the present social narratives in Thaba ‘Nchu. 
With regard to the funeral procession, the house may Providing spaces where oral history can be recorded 
serve as the gathering space for the funeral, leading to within the precinct, as well as within the sparsely-ur-
the rest of the precinct. banised setting of Thaba ‘Nchu, may contribute to the 
memory machine, resurrecting the buried and forgot-
A labyrinth of ramps will address the steep slope, and ten voice. The mnemonic procession attempts to use 
may enhance the experiential quality the visitor has, that which is ruined and buried to help find meaning 
and purpose in continued living in Thaba ‘Nchu. The 
House of Memory strives to become the connection 
between the past voice and present stories, between 
people and the place they inhabit.
PUT TrACES oF 
NArrATIVES BACk 
TogETHEr
HoUSE AS THE PoINT oF orIEN-
TATIoN AND DIrECTIoN oN SITE
FIgUrE 205: House as possible point of orientation and direction. FIgUrE 206: 
old & new axis meet at ‘revived’ voice of Thaba ‘Nchu 
74
75
ArCHIVE TYPoLogY MUSEUM TYPoLogY
BULk OF SpAce FOR STORAge SpAce FOR VISITOR MORe IMpORTANT
A r C H I V E / rECEPTIoN rESTorATIoN
E X A M I N A -
TIoN
FILINg STorE
SHIPPINg
PrESErVA- ArCHIVE STorAgE
TIoN gALLErY
oFFICES
VISITor L E C T U r E / 
rooM THEATrE
ArCHIVE STorAgE
ADMIN. 
oFFICES
ENTrANCE LoBBY ABLUTIoN
rETAIL
PArkINg
orAL HISTorY MUSEUM & ArCHIVE
THE VoICE AUDITorIUM
oF THABA 
‘NCHU 
MEMorIAL 
rECorDINg DIgITAL rE- D I g I T A L 
SEArCH STorAgE
rECEPTIoN FoYEr & PErMANENT EXHIBITIoN
& CoFFEE LIBrArY ArCHIVE LETTErS
BAr
PUBLIC SQUArE
rECEPTIoN S T A F F ADMIN oF- EXAMINA- CUrATor BoArD-
& FoYEr rooM FICES TIoN & rooM
PrESE r-
VATIoN
LECTUrE A r C H I V E A B L U -
rooM S T o r A g E TIoN
& rEADINg 
rooM
ABLUTIoN
STorAgE
ENTrANCE PArkINg
76
2.7.3  t o w A r d s  A N  A c c o m m o d A t I o N  L I s t  
PErMANENT SCULPTUrE wALk
EXHIBITIoN
r E C E P -
TIoN
rESEArCH
CUrATor
The accommodation list below lists the 
various functions that are incorporated 
into the final design proposal. The pro-
gramme was mostly determined from the 
functions deemed most important iden-
tified in the precedent study analyses in 
terms of typology, also from the client’s 
requirements.
HOUSe: 
2
Reception & Reception office 17m
2
exhibition 76m
2
Site Storage 15m
2
Ablution 14m
ARcHIVe: 
2
Reception 5m
2
foyer 10m
2
Staff Room 14m
2
Office Space 14m
2
Preservation & filing Room 14m
2
Curator & Curator’s Assistant Office 22m
2
Boardroom 22m
2
Circulation 40m
2
lecture Room 43m
2
Ablution 15m
2
Archive Office 24m
2
Reading Room 74m
2
Archive Storage 75m
2
Reading Garden 60m
MUSeUM:
2
Reception, Coffee Bar & library 56m
2
Basotho War Tomb 27m
2
Colonial War Tomb 35m
2
Apartheid Tomb 39m
2
Circulation- Hall of stories 35m
2
Circulation- Tell your story 62m
2
Oral History Recording 18m
2
Digital Archive 18m
Digital Storage 18m
2
2
Circulation & Waiting Areas 55m
ScHOOL RUINS:
2
Barolong Chamber 30m
2
Missionary Chamber 30m
2
Voortrekker Chamber 30m
eReSkULD  cHURcH:
Auditorium 118m
2
cHApeL OF VOIceS:
2
Memorial 140m
ScULpTURe WALk
TOTAL AReA: 1365m2
77
2.7.4  A c c o m m o d A t I o N  L I s t   
2.8 tEctoNIcs 
2.8.1 STRUcTURAL cONcepT expLORATION
The structural touchstone was explored in terms of the design con-
cepts. The structures in the immediate context consist of load-bearing 
masonry, a stereotomic characteristic, and recycled iron sheeting as a 
tectonic consideration. Almost half of the built context is comprised of 
old structures, many of which are run down, while the rest are modern 
structures. The proposed building aims to stitch together the old and 
the new by using the old as the foundation for the new. The old material 
is represented in iron stone walls, and the new material as steel fram-
ing, cladded with corten steel.
emerging from the stereotomic structural core, lighter elements ‘radi-
ate’ from this heavy, buried ‘old’ see fig. 207-211. In addition, the stone 
walls emerging from the ground represent the buried and forgotten, 
which is revived. Light entering the tectonic structure augments the 
‘revival’ in the proposed project.
78
FIgUrE 207-211: Construction Touchstone by author 2016
STeeL ROD RepReSeNTS STRUcTURe DecONSTRUcTS IN 
STeeL FRAMe STRUcTURe: TeRMS OF LAyOUT & MATeRIAL 
THe ‘NeW’ BUILDINg MATeRIAL DeNSITy VeRTIcALLy & HORIzON-
cOMINg OUT OF THe OLD TALLy
STRUcTURe DecON-
STRUcTS HORIzONTALLy 
INTO MOVABLe cORTeN 
STeeL pANeLS
STRUcTURe DecON-
STRUcTS VeRTIcALLy
cONcReTe RepReSeNTS 
STONe WALLS:
THe ‘OLD’ BUILDINg MATeRIAL
79
2.8.2 BUILDINg rEQUIrEMENTS
A museum is an institution which serve and sustain the history as Use of space 
collects, documents, preserves, ex- narratives of the site. Whereas ar-
hibits, and interprets material evi- chives are usually introverted and * Sufficient space allocated to work 
dence and associated information forgotten in society, the archive and areas, collection storage and exhi-
for the benefit of the public (Muse- museum for the forgotten narrative bitions. 
ums Association (uK), 1984), while is part of the community and is a *Retail facilities visually separate 
an archive is a collection of his- narrative of the history of the area, from exhibitions. 
torical documents or records pro- public and accessible to the Bloem-
*Well ventilated exhibition spaces, 
viding information about a place, fontein community.
sufficient natural light with no ob-
institution, or group of people. The 
structions
archive-museum will protect, con-
80
collection facilities Visitor flow and comfort Administration facilities
* Storage areas should be internal * A single point of entry and exit for * Allocate space for administrative 
rooms, separate storage areas for visitors. facilities. 
different types of materials. * Minimises the number of doors * Plan for curatorial space where 
* Building to be well ventilated and used, for both security and climate staff can work without interrup-
air is filtered for dust. control purposes. tions. 
* Minimises temperature and rela- * Provide seating at strategic points * An allocated research space 
tive humidity fluctuations. throughout the museum. where the public can use the mu-
* Security as an important aspect. * Clean toilets, conveniently locat- seum’s reference library, resources, 
ed. and appropriate collection infor-
* Access for disabled persons, and mation. 
safety considerations are vital to 
the planning.
FIgUrE 212: Ablution regulations
FIgUrE 213: 
FIgUrE 214: Parking standards NBr
81
2.8.3 TECToNIC PrECEDENT STUDY:
kIMBELL ArT MUSEUM rENZo PIANo
FIgUrE 215: Sketch of kimbell Expansion (2013: online)
The Kimbell Art Museum expansion eNVIRONMeNT & MIcRO 
is used as a precedent in terms of cLIMATe
structure, material, detail, space Orientation 
utility, response to existing struc- The building has an east-West ori- Figure 217: Location in North Ameri-
tures and context. The expansion ca (2016: online)entation in order to form a relation-
of the Museum in fort Worth Texas ship with the main Kahn part of the 
is designed by Renzo Piano, which Museum (fig. 10), as well as a dia-
serves to increase much needed logue with the Will Rogers Memori-
exhibition space of the Kimbell Art al Center and Amon Carter Muse-
Museum, originally designed by um. The Kahn and Piano Museums 
louis Kahn in 1972. The client, the are nestled between century-old 
Kimbell Art foundation, required trees that set up a poetic contrast 
a structure that would respect the between civilisation and nature 
older building, provide sufficient (Texas Architect, 2014: online). The Figure 218: Average monthly Rainfall in Texas (2016: online)
space for the growing collection narrow north and south facades 
and make provision for education are protected from the noise of the 
programmes, while the Kahn build- 6congested streets by green spaces 
ing would preserve the museum’s planted with trees, as well as from 5
permanent collection. Piano de- the harsh Texas sun by the large 4
scribes his extension to Kahn’s as overhang of the roof.
‘Close enough for a conversation, 3
not too close and not too far away’ 2
(Schoek, 2016: online). Roof 1
The roof is a complex system, lay-
ered with louvers, glass and screens, 0
(fig. 222-225). The louvers control 
the number of rays that enter the 
building, thus acting as a tempera-
ture regulator. The roof becomes an Figure 219: Average Temperature in Texas (2016: online)
external sunscreen. This is relevant 
as filtered natural light enters the 100
gallery, without damaging the art 90 HIGH
work, while the roof produces ther- lOW80
mal comfort as well. The system 
70
may be too complex to consider in 
60
Thaba ‘Nchu, but certain principles 
used by Piano  may be re-interpret- 50
ed into the proposed project. 40
0
FIgUrE 216: renzo Piano
82
fAHReNHeIT INCHeS
JAN JAN
feB feB
MAR MAR
APR APR
MAy MAy
JuN JuN
Jul Jul
AuG AuG
SePT SePT
COT COT
NOV NOV
DeC DeC
Micro-climate
The Kimbell Art Museum expansion 
is located at 333 Camp Bowie Blvd, 
fort Worth Texas, uSA. The area 
has a humid, subtropical climate 
which suggests that precipitation 
is evenly distributed throughout 
the year (2016: online). Summers 
are hot and humid with an average 
temperature of 35oC fig. 218, while 
winters are cold and damp with an 
average temperature of 12.8oC and 
an average snowfall of 0.07m per 
year, (fig. 219) (2016: online). The 
Temperatures are similar to that of 
Thaba ‘Nchu with hot winters and 
cold summers. Figure 221: Site Plan (sketch derived from Google earth)
context
The museum is located on a large 
city block of 16 187 m2 (fig. 220), 
downtown in the cultural district of 
fort Worth and bordered by a res-
idential area and a university. The 
plot is defined by the four streets Figure 222: Adjustable roof panels (2016: online)
that surround it. The Kimbell Art 
Museum consists of the Piano Pa-
vilion and the Kahn building that 
sits across each other. The Piano 
Pavilion is partly successful as it 
addresses many issues in the urban 
area such as traffic, limited parking 
space, rapid storm run-off, higher Figure 223: Glass roof (2016: online)
temperatures and a lack of green 
space (Nelson, 2010: online). The 
location is similar to the site for the 
proposed project in terms of cen-
trality. The site is mostly also sur-
rounded by a residential area with 
a school and some businesses in 
the vicinity Figure 224: Roof with votovoltaic cells (2016: online)
Figure 225: Glass roof articulation (2016: online)
Figure 220: Locality Map- Culture district in Texas 
(Google images)
83
USeR BeHAVIOUR, SOcIO & SITe pLANNINg AND 
ecONOMIc pROFILe & LANDScApINg
BUILDINg ReqUIReMeNTS
Building Requirements Piano sustained what Kahn envi- lessons learnt:
In the case of the Kimbell extension, sioned for the Kimbell Museum, 
the Musuem aims to conserve and to have a direct relationship with Developing the nature:
exhibit art works. The design of a nature, thus maintaining as much -Are vital to urban spaces as they 
museum should include the follow- green space as possible in an area aid in preserving green space. 
ing factors: deprived of greenery. -Provide the spaces for people to 
gather, 
Use of space The Piano Pavilion emphasis- -help air filtration
-Sufficient space allocated to work es transparency and openness -reduce the heat island effect 
areas, collection storage and exhi- (RPBW, 2016: online). The structure 
bitions. becomes part of the landscape 
-foster community identity
-Retail facilities visually separate through glazed walls, prominent in 
from exhibitions. the western section of the building. 
The eastern section is buried un-
-exhibition spaces well ventilated, 
derground with a green roof. The 
sufficient natural light with no ob-
turf roof ramps up from the street 
structions 
level and becomes a park-like 
Collection facilities space that allows the site to main-
-Storage areas should be internal tain recreation space for informal 
rooms gatherings and museum functions 
-Building to be well ventilated and (Nelson, 2010: online). 14 000 m2 of 
air is filtered for dust. the green recreation area is plant-
-Minimize temperature and Rela- ed with 320 new trees , forming a Figure 226: Garden connects the old Museum 
tive Humidity fluctuations. tree-like lawn, which includes trees with the new (2016: online)
-Security as an important aspect. between the old and the new ad-
dition to re-establish the previous 
Administration facilities planting (fig. 226 & 229). Apart 
from these new trees, the Kimbell 
-Space for administrative facilities. 
Museums are nestled between 
-Plan for curatorial space where century-old trees that adds to the 
staff can work without interrup- character of the Museums.
tions. 
-An allocated research space where 
the public can use the museum’s 
reference library, resources, and 
appropriate collection information. Figure 227: Paths, lawns & pond- communication 
between new and old (Nelson, 2010: online)
Visitor flow and comfort 
-A single point of entry and exit for 
visitors. 
-Minimize the number of doors used 
for security and climate control. 
-Provide seating at strategic points 
Figure 228: Museum extends into Landscape- 
throughout the museum. nature and built inform each other (Nelson, 2010: 
online)
Socio economic profile
As an entrance fee is required to 
enter the museum, only a certain 
group of people who can afford to 
do so is welcome to visit it. Only 
people with a Kimbell membership 
receive free and unlimited admis-
sion to all exhibitions. A museum 
is part of the culture of a place 
and should be freely accessible to 
all members of society because it 
is their constitutionally defended Figure 229: Nature seperating the old (1) from 
the new (2) (Nelson, 2010: online)
right to education.
84
UTILITy & SpAce 
eNHANceMeNT
Meeting of classical inspiration and Area 
technical innovation The total area of Piano’s Pavilion is 
The main purpose of the Kimbell 9 400 m, with a height of 6,7m.
Art Museum is for visitors to ap-
preciate historical art pieces with Breathing floor
a backdrop in the form of nature To spatially enhance the galler-
and other historical centres. The ies, Piano designs what he calls a 
building is quite strong in itself with breathing floor, a floor that func-
good elements to it. Clear lines of tions as a vent. The spaces are void 
the architecture allow visitors to of air ducts and cables have been 
concentrate only on the artwork. installed in the roof, which would 
The design is a colonnaded pavilion otherwise have been visible within 
with overhanging eaves that rec- Piano’s glass roof.
ognises Kahn’s museum building 
through associated height, using 
concrete as a primary material with The white oak floorboards have 
the emphasis on light. Piano placed been laid with small gaps in-be-
the structure 60m away from tween to allow low-velocity air to 
Kahn’s Museum to ‘respect’ and flow through the floor. The open-
conserve the older architectural ings in the floor echo the beams 
masterpiece. The museum, mostly above, creating a subtle pattern, 
single-storeyed, allows the interior while its colour provides warmth, 
spaces to be illuminated naturally complementing the cool concrete 
through the roof and walls similar walls (McMillan, 2014: online).
to Kahn’s building (fig. 234).
gallery walls
plan The gallery walls are movable, 
Two glass passageways connect adding to the dynamism of the 
two adjacent wings. The section space. They have been designed in 
to the east, the front wing, ap- such a way as to maintain the tran-
pears weightless as a result of the quility of the gallery spaces and Figure 230: Ground Floor Plan of Piano’s exten-
glass roof that floats above the the feeling of weightlessness. The sion (sketch derived from architects drawings)
timber beams and concrete posts. 277mm walls have been secured 
Square concrete columns wrap to the floor, allowing light to filter 
around three sides of the building through the bottom part, also ap-
and emphasise the entrance of the pearing to float as the roof (Texas 
pavilion. The plan is linear, without Architect, 2014: online).
disturbances to ensure open circu-
lation for visitors to view the art- Light
works (fig. 231). Piano designed a roof struc-
ture that allows daylight to filter 
east wing program through the gallery ceilings. The 
*Ground level: pavilion lobby with spaces are subtly lit, providing 
pavilion café, 2 top-lit galleries, luminance perfect for comfortably 
viewing works of art.
pavilion shop, loading dock and 
security.
*lower level: art storage, prepara- Furnishings 
tory areas, mechanical systems, furnishings are used and posi-
services tioned in such a way as to con-
tribute to the overall experience 
 
of the museum, illustrated through 
West wing program neutral-toned contemporary furni-
*Ground level: non-top-lit gal- ture of tan and white, accentuated 
lery, suitable for the display of by red (fig 232).
light-sensitive works, auditorium 
balcony, education workshops, 
membership department
Figure 231: Lower Floor Plan of Piano’s extension 
*lower level: pavilion auditorium (sketch derived from architects drawings)
with 298 seats and auditorium 
foyer,  library,  education
85
HORIzONTAL & VeRTIcAL 
cIRcULATION
Lessons learnt: Piano designed the Art Museum so 
that it is mostly experienced on a 
*linear plan ensures undisturbed single floor This allows visitors to 
circulation Figure 234: Floating roof- allows natural light to move through the exhibitions with-
*Single storey allows natural  pass thorugh (Texas Architect: online) out disturbances. 
illumination in every space
*Mechanically controlling natural Vertical circulation
light Visitors enter the museum via an 
*enhance existing/ historic with out underground parking lot and go up 
altering it to the portico of Piano’s building by 
means of an elevator or stairs. Pia-
*Served and servant spaces
no purposely directs visitors to use 
*Movable partitions for exhibition the entrance Kahn intended them 
needs to use (Texas Architect, 2014: on-
*Materials used contribute to func-
Figure 235: Building materials en- line). By doing this he accentuates tion of the building hance function (Texas Architect: online) the old and brings about awareness 
of the historic gallery, an important 
These factors may be considered design mechanism that can be uti-
in the proposed project to attempt lized in the proposed project.
to design optimum spaces in rela-
tion to the function and aim of the Stairs (fig. 237) and elevators con-
building. trast with the mostly linear, hori-
zontal circulation. In fact, it almost 
becomes disruptions in the circula-
tion (Bernstein, 2013: online). Piano 
uses canted walls next to the main 
staircases to add real dynamism to 
Figure 236: Building focuses on content the simple act of moving between 
displayed (Texas Architect: online)
levels (fig. 238). 
Horizontal circulation
from the portico of Piano’s exten-
sion, visitors follow a passageway 
across the lawn to the lobby of 
Kahn’s building. The design of cir-
culation between the new and the 
old structure is designed to delay 
gratification, to heighten the sen-
sory awareness of the visitors and 
prepare them for the art inside 
Figure 232: Resting spaces view on green lawns (Bernstein, 2013: online). The circu-
(2016: online) lation becomes a choreographed 
procession in which the visitors are 
encouraged to become mindful of 
the shifting light, the gravel that 
crunches under their feet at the en-
trance, and the water splashing in 
the fountain.
Circulation spaces parallel the gal-
Figure 237: Stairs become aesthetic details in leries in the museum, reinforcing 
design as a whole (Texas Architect: online) the galleries’ mostly linear orienta-
tions. The exhibition circulation has 
no prescribed route, and the rooms 
are not organised in any strict lin-
ear order. However, users feel a 
natural inclination to move in a 
certain linear direction. The rhyth-
mical sequence of variously pro-
portioned galleries stimulates the 
visitors’ appreciation of the works 
Figure 238: Section through Auditorium, sketch 
86 Figure 233: Clean, linear lines (2016: online) derived from architects drawings (Texas Architect: 
online)
on display. The served and service Lessons Learnt
spaces have their own independent 
circulation routes to ensure that no *Circulation enhances function of Museum
attention is taken off the art that is *Materials used in architectural elements enhance circulation 
on display.
*Circulation on exterior as important as circulation on interior
*Circulation as sensory tool in design
*Minimize vertical circulation to minimize disturbances in mu-
seum ‘route’
These factors may be considered in the  circulation of pro-
posed project to enhance experiential quality of building.
Vertical Circulation: Horizontal Circulation:
      
          Stairs           Staff
          Elevators           Visitors
          Ramps
       
Figure 239: Circulation (sketch derived from architects drawings)
Figure 240: Section through new and old museums (sketch derived from architects drawings)
87
FORM & FUNcTION
‘The tension between the man-made world of the mu- of the building as circulation within a museum is one of 
seum versus the immense vastness of the Texas plain; the vital aspects to consider when designing a muse-
the solidity of the building is the source of the design’s um. The path taken by the user is directly linked to the 
brilliance. Piano sinks the pavilion deep into the slope, experiential quality of the museum. The form allows for 
resulting in a long, low-slung structure’ (Texas Archi- visual connections to the landscaped surroundings, as 
tect, 2014: online). well as the existing cultural structures. The form is sim-
plistic, yet detailed, to ensure that emphasis is placed 
Piano’s extension is similar to Kahn’s Museum in terms on the artworks contained in the museum as well as on 
of size and height. The symmetrical, rectangular struc- the gardens.
ture has a width of 25 m and a length of 91 m, echo-
ing the older structure. Piano’s Pavilion has four square Lessons learnt:
concrete columns on the eastern side and four on the 
western side of the exterior of the building, with more *form is derived from context and landscape
closely-spaced rows of these columns placed on the *form illustrates function- in the case of the museum- 
northern and southern facades that support the beam long and narrow form speaks of the linear paths of the 
overhang. museum.
*form relates to the older structures, yet is interpreted 
The positioning of the structure on the site draws at- in a contemporary way 
tention to the western facade of the Kahn building 
where the main entrance is located. The Pavilion faces 
These design elements may be considered in the 
east and is placed 60 m from the old structure.
form of proposed project to be aware of the exist-
The long, rectangular form of the building (fig. 244) ing and how it forms a dialogue with the old and the 
suggests linear movement which supports the function landscape.
Figure 241: Existing inform new design (2016: online)
Figure 242: Form does not overshadow the art pieces in the museum (sketch 
derived from architects drawings)
Figure 244: Form of new is derived from the form of the old (2016: online)
Figure 243: New structure cuts into landscape so that old structure is enhanced (2016: online)
88
DeSIgN DeTAILINg: AcceSSIBILITy
Wheelchair access Deaf persons
The museum and the museum park are wheelchair ac- for the deaf and hard-of-hearing, special guided tours 
cessible. Handicapped users can access the Pavilion by are available, conducted in english sign language, usu-
means of the underground parking area, as well as from ally once per exhibition.
a drop-off zone from Camp Bowie Boulevard. The lifts in 
the museum have door breadths of 85 cm and widths of People with disabilities are entitled to a reduced ad-
140 cm to accommodate wheelchairs. mission fee. Admission for carers accompanying dis-
abled visitors is free.
Toilets for the physically disabled are wheelchair ac-
cessible with a door breadth of 95 cm and a seat height Lessons learnt:
of 47 cm; hinged handles and handle grips have been 
installed and a wheelchair-adapted washbasin is avail-
*All design decisions should be made while bearing in 
able. The mirror has been mounted at a suitably lower 
mind those with disabilities or challenges with regard 
height. The museum also has wheelchairs available for 
to accessibility.
physically-disabled visitors.
All rooms in the museum have been designed to meet 
the needs of visitors with mobility impairments. As the 
museum does not have steps or obstacles, all visitors 
with disabilities have access to the works of art in the 
museum and its exhibitions (figure 246). The type of 
flooring used in the exhibitions provides a smooth, bar-
rier-free surface.
Figure 245: Paths are wheelchair accessible 
(Texas Architect: online).
Figure 246: Floor are barrier free (Texas Architect: 
online).
Figure 244: Form of new is derived from the form of the old (2016: online)
Figure 248: Doors are magnetized to keep 
Figure 243: New structure cuts into landscape so that old structure is enhanced (2016: online) open  when moving through (Texas Architect: 
online).
89
STRUcTURAL SySTeM DeTAILS
classical styling with modern tech- doors to secure the galleries (McMil- Isokorb®connections, an American 
nology lan, 2014: online). product, are used in the roof system 
Renzo Piano wanted to honour, but of the eastern part of the building, 
not copy, Kahn’s structure. The new Walls and connect the floating roof with 
addition echoes Kahn’s three-sec- A colonnade of square concrete col- the heavy beams. The laminated 
tion layout, form, and shape, as well umns wraps around the sides of the wooden beams include steel head-
as materiality (glass, concrete and building, supporting solid wooden ers and are connected in pairs with 
wood) in a contemporary way. beams and the overhanging eaves Isokorb®, providing a column-free 
of a glass roof (Architizer, 2016: on- space for the full width of the 31m 
line). The walls are creamy white bays. The wooden beam pairs are Floor
The floor is 38 mm thick, with 6-mm concrete throughout the structure, 
connected by Isokorb® type S, steel 
infused with titanium with tie holes connections, at the beams steel layers of riftsawn white oak (fig. 
at 9-m intervals that produce an in- headers (fig. 429) (Schoek, 2016: 265). Rather than a convention-
online). 
al tongue and groove, the planks terrupted, neutral backdrop, ideal 
for the so-called ‘breathing’ sec- for the display of art. Slender steel 
tions were milled with CNC-cut tabs columns support the gallery roofs The roof is constructed from a lay-
placed 300 mm apart. The boards (Bernstein, 2013: online). The exhi- er of high-efficiency fritted/frosted 
are pre-finished with uV-cured al- bition walls are movable partitions glass coupled with silk-like scrims 
uminium oxide finish, avoiding the which are locked, using two or three that support a mechanically-oper-
need to sand and finish a floor with anchors that are hidden beneath the ated louvre system with built-in pho-
gaps between the boards. The gaps floorboards, thus allowing light to tovoltaic/solar cells (McMillan, 2014: 
appear only in the galleries. In the spill beneath them (McMillan, 2014: online). The ceiling is activated by 
lobby, where food and beverages online). the natural light that flows through 
could fall through during special the glass roof, down through ‘silk-
events, two large grates for venti- glazing like’ scrims. Natural light provided 
lation were designed. The wooden by the glass roof is enhanced by Glass used in the pavilion gives a 
grates are flush with the floor so that energy-efficient lighting with leD tectonic balance to the stereotomic 
they remain hidden (McMillan, 2014: technology. The louvres are capable timber beams and adds transparen-
online). of rotating 180 degrees to protect cy to the structure. Double-glazed, 
the skylight and the PV arrays from 
gas-filled walls allow natural light 
Texas’ frequent hailstorms (Nelson, 
The floor has a large service space to fill the northern and southern 
2010: online).
beneath the floor finish to accom- galleries, and to flow from the glass 
modate the many services that roof. from the entrance of Piano’s 
would traditionally be hidden in the addition, five layers of glass allow The top layer consists of aluminium 
roof structure to preserve the aes- a view through the lobby area, the mechanical louvres that shade direct 
thetic of the roof. The floor has a garden between the sections, into sunlight and capture energy with 
white oak finish with a pattern that the museum’s rear section and into photovoltaic cells, and has an area 
2
mirrors the beams above. To avoid the ‘light-well’ that spans the length of approximately 1 000 m  which 
ruining the aesthetics of the floor of the western building section. produces approximately 1,4 MWh of 
in the museum with air registers, Custom-sized steel members are green electricity (GIG, 2016: online). 
the floorboards were laid with gaps the main structural element for the The main function of the louvres is to 
in-between to create a ‘breathing’ glazing system. control the amount of light entering 
floor (McMillan, 2014: online). the space. The louvre system can be 
fully closed or opened to any posi-
Roof
tion between 0 and 45 degrees. The 
The floor also contains connection The almost-entirely-transparent system can rotate and fold over to 
points for the movable exhibition roof is a significant element within protect the glass roof structure in the 
walls. Steel u-channel attachment the design, as in Kahn’s Museum. case of heavy weather, such as hail. 
plates have been bolted to the con- The glass roof appears to float The PV cells within the louvres gen-
crete. Since floorboards are CNC- above the substantial, paired erate enough energy to meet about 
cut, specially-fabricated brass bolts beams and creates a controlled 70 per cent of the building’s lighting 
are accessible every 1,5 m through- day-lit environment (RPBW, 2016: energy needs. The louvres also keep 
out the gallery space.  About 1 000 online). sun off the glass; each component of 
brackets are situated beneath the 
the system is individually controlled 
gallery floors, which enable end- Beams by a control system (Donhoff, 2014: 
less layout options for exhibitions 
29 pairs of laminated, Douglas-fir online). 
and expanding collections (McMil-
timber beams (fig. 263) are 
lan, 2014: online). Hidden below the 
spanned throughout the interior, 
wear layer of the floor are strong The middle layer comprises a 
extending to the exterior. These 
magnets, which have been drilled high-efficiency fritted glass roof that 
beams, which have a length of 30m, 
into the floorboards and which serve further diffuses light, and has an 
provide support for the roof system 
as door locks. When engaged, the acid etch on the inside surface for 
and visually add weight to the large 
magnets in the floor attract mag- a more matte finish (Donhoff, 2014: 
continuous interiors. 
90 nets concealed in the bottom of the 
online).
Figure 252: Gutters inbetween paired beams (sketch derived from architects draw-
ings)
Figure 253: Roof system (sketch derived from architects drawings)
Figure 249: Laminated timber beam structure (sketch derived from 
architects drawings)
Figure 254: Concrete column supports paired timber  (sketch derived from architects 
drawings) beams.
Figure 250: Floating exhibition walls with services under floor finish 
(Texas Architect: online).
Figure 255: Green roof structure in South Africa
Figure 251: Concrete retaining wall  (sketch derived from architects drawings)
91
The bottom layer is made up of the 
interior, stretched between wood-
en beams, and which has a silk-
like scrim fabric that filters light to 
evenly distribute daylight through-
out the gallery. custom 10,5 W 3 
000 k LeD fixtures with an adjust-
able shield are tucked away out 
of sight above the wooden beams 
to uplight the glass ceiling and 
increase the luminance at night 
(Donhoff, 2014: online).
green roof
The west wing has a green roof 
structure that slopes down to a lawn 
that is accessible to the public. The 
roof protects the gallery that hous-
es light-sensitive artworks, and an 
auditorium. Isokorb® type cM is Figure 256: Green roof (Texas Architect: online).
used for concrete connections in 
the parapet wall that is connected 
to a 230-mm thick concrete roof, 
which is covered by grass. Isokorb® 
provides a thermal break from the 
concrete roof connection to the 
parapet (Schoek, 2016: online).
The high quality construction com-
ponents prove to be too expensive 
and complex for Thaba “nchu, yet 
valuable lessons can be learnt 
from the construction and details Figure 257: Roof construction
may be simplified to fit into the Figure 265: Floorboard system (McMillan, 2014: online)
level of skill and material available 
in Thaba ‘Nchu.
Lessons learnt:
*Simple architectural elements- 
floor, wall and roof- are reinter-
preted into dynamic elements that 
contribute to the function of the 
building.
* Older, classical ideas are reinter-
preted into technical innovative 
ideas.
* Roof mechanically controls day-
light filtration into spaces Figure 258: Transparency of roof (Donhoff, 2014: online) Figure 266: Floor construction (McMillan, 2014: online)
* Services in floor void and orga-
nized between beams
*Success of structure is dependent 
on the tectonics of structure 
Figure 259: sketch of meovable roof panels (sketch derived from architects draw- Figure 260: Beam assemblage (sketch derived Figure 261: possible South Figure 262: possible South 
ings) from architects drawings) African interpretation African interpretation
92
Figure 263: Constructing the roof (Donhoff, 2014: online)
Figure 264: Photovoltaic cell moveable panels Figure 269: concrete to beam connection
(Donhoff, 2014: online)
Figure 267: roof transparency vs solidity 
of column Figure 270: Inserting glass roof panels (Donhoff, 2014: online)
Figure 265: Floorboard system (McMillan, 2014: online)
Figure 268: Floating roof on timber beams (Don-
Figure 266: Floor construction (McMillan, 2014: online) hoff, 2014: online) Figure 271: Green roof entrance (Texas Architect: online).
TecTONIc ASSeMBLIeS/ cOMpONeNTS
Figure 262: possible South 
African interpretation
93
BUILDINg SeRVIceS
Sustainibility online). Chilled air is sent through ing systems that include sprinkler 
narrow gaps between the floor- systems (in case of fire) and secu-
Compared to Kahn’s building, Pia- boards to avoid the need for grill- rity cameras. This design principle 
no’s pavilion only uses half of the work which is visually distracting. keeps the ceiling plane as clean as 
energy per square foot (Dezeen, Hence, the floor becomes a giant possible (Donhoff, 2014: online).
2013: online), making the design vent (Bernstein, 2013: online). pARkINg DeTAILS & 
extremely energy efficient through: STANDARDS
The mechanical louvre system 
*Photovoltaic cells located on the which is normally open, closes 
roof completely during the time that The parking area is located under-
*Glazing that reduce heat loss and the museum is closed and opens ground and can house 135 cars. The 
gain minutes before the museum opens structure has an area of 4 914 m2 
again. This cuts down on heat gain 
*Geothermal wells that store (fig. 276-275).
from the sun during the long sum-
energy and produce heating and 
mer mornings, reducing demand 
cooling
on the HVAC system (Nelson, 2010: South Africa
*An air displacement supply sys- online). The size of a standard parking 
tem to reduce energy needed for space is 2.5 m wide x 5m long with 
air conditioning an aisle of 7.5m in-between rows of 
Light 
*low energy leD lighting parking for vehicle access.
The Kimbell Art Museum is a con-
*Process fresh air through a central 
temporary interpretation of how to 
unit to recover energy and mois-
marry light and architecture (Don-
ture
hoff, 2014: online). Piano used a 
*High efficiency bathroom fixtures combination of natural and electric 
*Breathable floor provides low lighting so that it is adaptable and 
velocity air that is    tuneable. Spaces can be lit using 
well-distributed (fig. 272) daylight, or they can be changed 
primarily by means of electric 
As only a third of the interior is situ- light. lighting is crucial in gallery 
ated above the ground, the museum spaces and museums, especially Figure 272: Services located in floor
will see greatly reduced demands in the harsh Texas climate. Piano 
for heating and cooling (Schoek, addresses this aspect through his 
2016: online). These spaces, includ- roof structure that regulates light 
ing two galleries and a lobby, bene- by means of movable aluminium 
fit from the overhanging glass roof louvres, as well as channelling light 
that supports a photovoltaic panel and providing surprising sightlines 
system, shades direct sun, and gen- by slanting certain walls, including 
erates enough energy to offset up the concrete light well wall and the 
to 50% of the carbon produced by walls on either side of the two main 
the structure on an annual basis. stairways (Bernstein, 2013: online).  
A geothermal well aids in air con-
ditioning the building by using the light plays a significant role in the 
natural heating and cooling pro- Figure 273: Basement parking (2016: online)auditorium as well. Natural light fills 
vided by the earth’s crust. lighting, the space through a light well that 
air-conditioning systems and fix- is situated behind the stage and its 
tures also contribute to the energy rear glass curtain wall. At the bot-
efficiency of the building. tom part of the curtain wall, a line 
of shielded wall-washers keeps the 
HVAc source hidden from the view of the 
A large service void of 600 mm is audience and performers (Donhoff, 
located underneath the finished 2014: online). The wall is slanted to 
floor layer and on top of the con- bring in the greatest amount of nat-
Figure 274: Basement parking (2016: online)
crete floor slab to accommodate ural light. Theatrical lighting is sus-
the pressurised plenum – a pres- pended from the ceiling.
surised chamber containing air at a 
pressure that is higher than the sur- Service track
roundings, to equalise pressure for Tracks positioned between the 
more even distribution – where the beams (fig. 252) contain the leD 
air duct is placed (McMillan, 2014: spotlights as well as other build-
Figure 275: Basement parking (2016: online)
94
cONSeRVATION
As the Piano Pavilion is an extension out, Piano’s Pavilion has a more by leaving as much of the green 
of Kahn’s Kimbell Art Museum, Pia- open, transparent character. Piano erf open as possible, illustrated 
no’s design is respectful of Kahn’s reinterprets the way light enters through the use of green roofs. Pi-
work as he draws inspiration from Kahn’s building through vaults by ano sited the pavilion in such a 
its architectural organisation, at- designing a floating roof that lights way as to correct the tendency of 
tention to materials and textures, up the exhibition spaces (RPBW, visitors to enter Kahn’s building 
and masterful use of natural light 2016: online). Both structures are through the secondary eastern en-
which infuses the interiors with a single-storeyed, with a section hid- trance. The pavilion stands on the 
sublime quality (Donhoff, 2014: on- den below the ground. The new underground garage so that when 
line). Piano used Kahn’s classical lighter, open structure is similar in visitor’s park, they rise up in an el-
principles, reinterpreting them with part to the old one, yet has its own evator and see Kahn’s facade. The 
modern technology in a contempo- character, setting up a dialogue be- extension guides the visitors to 
rary way. tween old and new. enter Kahn’s structure through the 
main, western entrance (Dezeen, 
Subtly echoing Kahn’s building in Piano kept the concept that Kahn 2013: online).
height, orientation, scale and lay- had for the landscaping of the site 
kAHNS BUILDINg pIANO’S BUILDINg
Figure 276: Light from the Figure 277: Stairs enhance spatiality (2016: online) Figure 278: Light from the roof (Texas Architect: online). Figure 279: Stairs 
roof (2016: online) enhance spatiality (Texas 
Architect: online).
Figure 280: New designed on principals of the old
cONcLUSION
Through the knowledge acquired *Controlling natural light to en-
from the case study of The Kimbell hance museum space
Art Museum extension, the design *Services in 600mm void under 
of an exhibition/ museum space, floor
will result in an appropriate design *Movable exhibition walls
response in terms of: *New informs the old through trans-
parency
*using the old to reinterpret it in a *Poetics between stereotomic and 
contemporary way tectonic
*Classical material with innovative *Rethinking roof use:
technology  o energy
*Simplicity being found in the level  o Sustainability
of detailing
 o light diffusion 
95
2.9 d E s I g N   m E t h o d o L o g y
Through the process of investigation in chapters 1 and 2. The historical investigation, together with the inter-
views that were conducted, revealed certain ways of thinking about Thaba ‘Nchu as a place and its voice, it 
further suggested ways in which a form of understanding can be generated, by the realisation that architec-
ture may be utilised as a means of communication, a voice. 
Voicing traces of different narratives through the exploration of Thaba ‘Nchu as a place, will attempt to bring 
about a greater connection between the past, present and future, ultimately contributing to the relationship 
between people and place, reviving a forgotten identity. The process of revival is set in motion by means of 
architectural intervention serving as a memory machine, realized through the touchstone and augmented 
by the conceptual ideas. The conceptual ideas left traces that began to point to ways of approaching the 
proposed project on the specific site. The typological investigation included precedent studies that aided in 
developing a suitable accommodation list, as well as identifying how the various requirements of the build-
ing could work together to form an integrated design. A common thread ran through the precedent studies, 
i.e. the importance of integrating narratives exhibited within spaces  with the architectural language of the 
building itself. Symbolism, repetition and texture become important experiential design factors to consider, as 
well the relation to the context in terms of buildings,  the socio-economic profile of the users and the topology. 
The site analysis began to highlight different ways of approaching a design that sensitively communicates 
with this specific site, especially in terms of the kind of scales and proportions that would be suitable in the 
context. The analysis  grounded certain controlling decisions in the design, which led to incorporating the 
ruins on the site with the proposed project, to form a relationship with the old and the new ‘voices’, where the 
old is interpreted as the foundation for the new on which to be constructed, also fragmenting the historical 
traces into the urban landscape where traces of the new narratives happen. 
A literature review arose from the investigations that had been conducted which contributed towards re-
vealing unique approaches to the design of the House of Memory for Thaba ‘Nchu. This includes the use of 
narratives of ordinary people to tell the story of the place. The interpretation of literary sources disclosed the 
importance of the voice of a place, construed from traces of stories collected over time that have been forgot-
ten and which may be revived and remembered through architecture. A significant approach to the design, 
realised through the review is the importance of obtaining a relationship between the past and the present 
through the remembrance of forgotten stories. The forgotten stories are told by the community, which en-
ables the House of Memory to become inclusive and attract the general public to become more aware of the 
place in which they live, bringing about a greater connection between place and people.
The design seeks to generate public interest, while at the same time protecting and conserving the historical 
material which has been retrieved and archived by anthropologists. The House of Memory should incorporate 
both of these facets to realise the client’s needs, as well as those of the community in an innovative manner. 
The investigation of the Museum of Innocence,  lebbeus Woods scar metaphor, and the Acropolis in Greece, 
led to notion of reviving memory through traces of different stories in a ruined place to attempt to reinstate 
an identity that has been forgotten as a result of the devastation of a place, through architecture.
The approach to the tectonic and structural investigation arose from the conceptual considerations per-
taining to the new coming from, or being grounded in the old, as well as the methods used in context which 
address the climatic considerations to an extent. It is intended that these considerations and lessons learnt 
are further developed through the design development, as expressed in the following chapter, which focuses 
on demonstrating the synthesis of the design.
96
97
FIgUrE 281: Perspective of Brand Street.
98
C H A p T e r
3.1. DeSIgN SyNTHeSIS
3.2 INITIAL DeSIgN IDeAS
3.3 DeVIATINg FROM THe INITIAL 
DeSIgN IDeAS
3.4 Re-INTeRpReTINg THe INITIAL 
DeSIgN IDeAS
3.5 URBAN DeSIgN DeVeLOpMeNT
3.6 TecHNIcAL INVeSTIgATION
3.7 LIgHT STUDy: MeMORIAL
3.8 SpATIAL ReqUIReMeNT INVeSTIgA-
TION
3.9 TOWARDS A DeSIgN pROpOSAL
3.10 TecHNIcAL ReSOLUTION: 
Documentation APPENDIX A3
99
3.1 DeSIgN SyNTHeSIS
From the investigations and research conducted through chap-
ter 2, including the aims and challenges identified in chapter 
1, the design process commenced. The traces of left by these 
investigations concerning the history of Thaba ‘Nchu, the site 
analysis and precedent studies determined certain guidelines 
and boundaries for my approach to the design of the proposed 
project. The research administered under morphology revealed 
a unique ways to execute the design of the proposed building 
typology in a specific place. The structural decisions were made 
parallel to the design development.  
The design process was initiated predominantly by conceptual 
sketches. Model building proved to better my understanding of 
FIgUrE 283: Initial design sketch.
the nature of the site and the proposed building’s relationship 
to the site in terms of placement, scale, proportion and detail. 
The models developed from using that which worked in one, to 
merge it with that which was successful in another. The ideas 
portrayed in initial conceptual models led to the depiction of 
the design models.
The design development proved to be more challenging than 
what I expected, especially in regards to decisions concerning 
the placement of proposed structures. Ultimately, the models 
and continuous sketching led to the decisions made in regards 
to the morphology of the project, in order to identify ‘traces of 
different stories’ to form an architectural voice for Thaba ‘Nchu. 
chapter 3 is a combination of technical and design decisions, 
which was mostly  realized through hand drawings and models, 
only once the design was finalized did an architectural program 
aid in visualizing the tectonic and design resolution.
FIgUrE 284: Initial design sketch.
FIgUrE 282: Initial design sketch. FIgUrE 285: Site reflects settlement.
100
FIgUrE 283: Initial design sketch.
FIgUrE 286: Initial design sketch.
FIgUrE 284: Initial design sketch. FIgUrE 287: Initial design sketch. FIgUrE 288: Possible project procession.
FIgUrE 285: Site reflects settlement.
101
RUINS OF  xIS
Ng cHURcH OLD
 A
WHeRe AxeS 
MeeT: VOIce OF 
pLAce ReVIVeD Initially, the form of the design was 
determined by a strong, linear axis 
I developed in contrast to the ‘old’ 
axis. The bulk of the bulk of the 
structure sank into the ground, a 
HOUSe symbol of ‘resurrecting’ the buried 
RUINS USeD 
and forgotten voices of the place
AS pOINT OF 
ORIeNTATION & FIgUrE 289: Initial 1:500 model FIgUrE 290: Initial 1:500 model
DIRecTION
3.2 INITIAL DeSIgN MeMORIAl
Museum exhibitions depicting devastating stories become 
tombs in the funeral procession, in order to come to terms 
with the past. 
FIgUrE 294: Tombs as exhibitions revealing that which was buried
FIgUrE 293: Initial plan: Proposed building develops from house ruin.
102
xIS A
NeW
ScHOOL 
RUINS ARe IN-
cORpORATeD INTO 
THe DeSIgN AS 
exHIBITIONS 
SpAceS
The model that followed the The axes meet at a memorial for Thaba 
initial design was an attempt ‘Nchu that commemorates those who 
to form a better relationship were forcefully removed. The memori-
with the existing on the site in al serves as the chapel, a place where 
terms of siting. Incorporating past stories can be contemplated and 
functions on the site, name- commemorates those who passed 
ly SASSA, into the proposed during Mzilikazi wars, and those force-
project was considered fully removed during Apartheid.
FIgUrE 290: Initial 1:500 model FIgUrE 291: Second 1:500 model FIgUrE 292: Second 1:500 model
Ruin house: orien-
tate user
FIgUrE 295: New designed on principals of the old
FIgUrE 296: Plan developed from initial design, proposed project accommodates SASSA offices as a way of 
integrating the proposed project with the present needs on the site.
103
3.3 DeVIATINg FROM THe INITIAL DeSIgN
At this point in the design process, I was quite un-
sure as to how my design communicates with the 
context on the site. I was spending too much time 
on 1:500 scaled models and losing focus on the 
initial intentions of the project, ‘playing’ around 
with all the various design possibilities I could 
come up with
FIgUrE 297: Section through house, point of orientation and tombs that 
lead to the memorial- the point where the old and new come together to 
form a new voice for Thaba ‘Nchu.
FIgUrE 298-300: Developed design attempts to    integrate better with the context.
3.4 Re-INTeRpReTINg INITIAL DeSIgN IDeAS
finally, I reinterpreted my ideas concerning the re-
lationship I would like the proposed design to have 
with the existing, by using the ruined structures as 
traces of stories and considering the functioning 
buildings on the site, to narrate and construct the 
House of Memory. The House of memory may be 
viewed as a ‘Kgotla’, a significant space for the cul-
ture of those living in Thaba ‘Nchu. The Kgotla may 
be viewed as a gathering space, where stories are 
told by ordinary people, a place of contemplation 
and rest, where the old is considered, voices are 
heard, and ideas for the future are discussed. 
FIgUrE 302,303: Improved design which becomes the thread between the 
present and the forgotten
104
pReSeNT
TeNOT
FOR
g
TTe
N
RgOFO
T
SeN
pRe
- THRe
AD
NeW
TeNT
gO
FO
R
FIgUrE 301: Improved design which becomes the thread between the present and the forgotten
MEMorIAL wHErE STorIES ArE rEMEMBErED
FIgUrE 304: Improved design which becomes the thread between the 
present and the forgotten
105
e
OIc
eN 
V
RgO
TT
O
OLD
 F
FIgUrE 305-308: Form investigation, 1:200 model
cHAMBeRS IN 
OLD ScHOOL 
RUINS NAR-
HOUSe: ORIeNTATeS RATe HISTORy 
USeR, pLAce OF OF THe pLAce
gATHeR FOR ‘FU-
NeRAL’
RecORD NeW 
& FORgOTTeN 
STORIeS
AUDITORIUM 
WHeRe NeW 
STORIeS cAN 
Be VOIceD
ADMINISTRATION, AR- exHIBITIONS AS 
cHIVe AND LecTURe ‘TOMBS’ TO cOMe TO 
ROOM- cOLLecT AND TeRMS WITH ApART-
ReMeMBeR TRAceS OF HeID, BASOTHO WAR 
STORIeS AND cOLONISATION 
DeVASTATION
N
Re-pURpOSe gA-
RAge INTO pUBLIc 
ABLUTIONS & 
pROVIDe FRAMINg 
FOR FUNcTIONS 
FIgUrE 309: Plan showing allocation of functions
Once the siting of the structures were determined, I sun glares. Considering the spatial requirements for 
began to organize the various functions and develop the functions of the project, natural light is not desired 
the spatial  considerations. The location of the pro- in spaces that contain historic material that need to 
posed structures better communicate with the exist- be protected from high temperatures and harsh sun 
ing by using the contours on the site, where areas are glares. In this regard, functions may be closed off from 
more level, to determine their placement. This placing direct sun light. light ‘scoops’ may redirect north light 
could cause considerable challenges in regards to ori- to enter spaces that predominantly face west.
entation, as facades may be too exposed to the West 
106
Ice
W V
O
Ne
e
 VO
Ic
TTe
N
O
 FO
Rg
OLD
PoINT oF 
orIENTA-
TIoN & 
DIrECTIoN
The first 1:200 model was an exploration into suggest- with the devastation sink into the ground.  emerging 
ing a new architectural voice for the place while mak- out of the tombs, is an exhibition that contains the oral 
ing memorable spaces.  The house is the starting point history of inhabitants of the settlement. furthermore, 
for the ‘memory machine’  that attempts to restore the chambers in the ruins of the school remembers Tha-
voice of Thaba ‘Nchu, remembering and augmenting it. ba ‘Nchu before the devastation. The old and new is 
A labyrinth of ramps from the house address the steep brought together in the old NG church, which serves 
slope and attempts to take the user out of his present as theatre for the community where thoughts and feel-
situation, in order to draw focus to the stories narrat- ings of the old and new life are voiced. The mnemon-
ed through the precinct. The ramps lead to museum ic procession uses that which is ruined and buried to 
chapter of the precinct, where the exhibitions  that help find meaning and purpose in continued living in 
become tombs for remembering and coming to terms Thaba ‘Nchu.
RecORDINg STORIeS
TOMB pUBLIc SqUARe
FIgUrE 310: Section through Exhibition
ARcHIVe   OFFIceS Screen protects build-
ing from western sun
FIgUrE 311: Section through archive and offices
107
T h e 
model that de-
velop from the previous 
design attempted to form an 
architectural language that is 
more coherent. The proposed struc-
tures ‘happen’ in-between the ruined 
structures and the buildings function-
ing presently, in an attempt to bring 
together the forgotten and the new. 
In this regard, the proposed 
project emerge from the old, 
resurrecting the bur-
ied voice.
BrEATHINg SPACES: Spaces are 
CoME To TErMS wITH rE- also allocated for 
MEMBErINg ForgoTTEN the community to 
illustrate their story 
through words or 
drawings.
FIgUrE 312: revised plan, Buildings connected with ramps to accommodate steep slope.
108 Figure 313: revised model
FIgUrE 317-321: Improved model, form and shape is informed by 
existing buildings and topography of site.
FIgUrE 314: Mono-pitch roof allow northern light to enter habitable spaces.
ARcHIVe STORAge & OFFIceS
The archive space is divided into a more public space that the 
public can use and a private area, sunken into the ground to 
protect the history, and ‘dig up’ the forgotten stories. 
Post graduate students studying Anthropology,  from the uni-
versity of the free State, will occasionally be taught at the pre-
cinct how to collect oral history, and help the Museum gather 
oral history from Thaba ‘Nchu and the surrounding villages. 
The stories collected will be stored digitally and exhibited in 
the House of memory. 
FIgUrE 315: New auditorium draws attention to old church through form, scale 
and location.
AUDITORIUM IN cHURcH RUINS
FIgURe 316: Section model through auditorium 109
ES
 Vo
IC
EL 
oF
AP
wA
Lk CH
Ur
E 
LPTU
SC
N
FIgUrE 322: 
gROUND FLOOR pLAN
110
The sculpture 
walk reinforces the 
‘new’ axis with life size 
sculptures of people who live 
or have lived in Thaba ‘Nchu. 
The sculptures are created by The precinct 
local residents that are part has no forced route. The 
of the Cultural Centre art ramps and various pathways 
group. offer visitors and pedestrians 
various walkways to use. A sculp-
tural walk depicts historic fig-
ures from Thaba ‘Nchu, which 
connects the memorial 
with the rest of the 
precinct. 
T h e 
chapel of voic-
es serves as a memori-
al for those who died during 
wars and those who were relo-
cated by the colonial and apartheid 
government. The chapel is the final 
acceptance of the devastation and 
place where the old and new come 
together, where the ‘voice‘ of the 
place is restored, symbolical-
ly portrayed through the 
light that falls into the 
FIgUrE 323: chapel.
BASeMeNT FLOOR pLAN
FIgUrE 323: revised 1:200 model
111
cHURcH TAcTIc 
RUIN OFFIceS
ScHOOL 
RUIN
brin TRADITIONAL g old and new togethe
r cOUNcIL
The third model illustrates the design 
in a more final stage where details in 
the structure were considered, espe-
cially concerning tectonics. The heavy 
stone walls appear to emerge out of 
the ground, representative of the old 
HOUSe voice, where the new latch onto the 
RUIN heavy walls, being grounded in the old. 
The proposed project becomes the 
mechanism that merges the forgotten 
ruins with the present functions. 
FIgUrE 323: revised 1:200 model, design brings old and new and allows for free circulation through the precinct for the public.
ON
LAT
I
cU
Ic c
IR
pUB
L
FIgUrE 325: revised 1:200 model
WeSTeRN FAcADe HAS MOVABLe 
pANeLS THAT ScOOp LIgHT FROM 
THe NORTH INTO THe SpAceS
STRUcTUReS DeMATeRIALIze INTO LANDScApe 
FIgUrE 324: revised 1:200 model FIgUrE 326: revised 1:200 model, western elevation. Panels scoops northern 
112 light into building.
Chapel of voices, where 
old & new come together
FIgUrE 328: 
SITe pLAN
ION
LAT
cU
Ic c
IR
pUB
L
FIgUrE 329-333: 
exHIBITION ROOF expLORATION
113
BAROLONg cHAMBeR 
IN ScHOOL RUIN
ORAL HISTORy 
RecORDINg MUSeUM LIBRARy
TeLL yOUR STORy
FIgUrE 334: 
SecTION THROUgH pROpOSeD pROjecT
114
ARcHIVe & LecTURe 
A D M I N I S T R AT I V e ROOM
FUNcTION
HOUSe RUINS WITH Re-
cepTION & exHIBITION
115
3.5 DESIgN oN AN UrBAN SCALE
voIcINg story trAcEs IN thE urbAN fAbrIc
HOUSe O
  F
FIgUrE 335: Site plan illustrating location of Story Stops in Thaba ‘Nchu
116
 MAc
Ry
HINe 
ATeS Me
TI
V MO
eMORy A
 M c
In order to revive 
the story of Thaba ‘Nchu, the 
House of Memory should extend into 
the urban fabric of Thaba ‘Nchu by com-
bining the social needs of the community, 
with that of the past.  The transportation net-
work creates spaces for the community to gather, 
while performing a vital service for the settlements 
infrastructure. The House of Memory will collect 
oral history from the taxi or bus stops where gath-
ering in the city happens. Volunteers will record 
the stories resulting data can be listened to. 
This will deconstruct the museum so that it is 
immersed within the settlement, as well 
as provide researchers and sociolo-
gists with information.
STORy STOp
FIgUrE 336,337: Story stop design 
117
3.6 tEchNIcAL INvEstIgAtIoN
FIgURe 338-343:  exploring technical solutions
118
3.7 LIght study: mEmorIAL
FIgURe 344:  Section through memorial
FIgURe 345-347:  Section through memorial- chapel of voices
119
3.8 SPATIAL rEQUIrEMENT INVESTIgATIoN
This investigation was conducted to develop the essential function of the 
proposed project within the three dimension. Three spaces were select-
ed namely, the archive; curator’s office; and the library, reception and 
coffee bar. A plan, section and perspective was developed from these 
spaces in order to grasp a better understanding of the spaces with furni-
ture, services and specific equipment
FIgUrE 348:
ARcHIVe pLAN
120
FIgUrE 349:
ARcHIVe peRSpecTIVe
FIgUrE 350:
ARcHIVe SecTION
121
FIgUrE 351: FIgUrE 352:
RecepTION, LIBRARy & cOFFee BAR  pLAN RecepTION & LIBRARy peRSpecTIVe
FIgUrE 354: FIgUrE 355:
cURATOR OFFIce  pLAN cURATOR OFFIce peRSpecTIVe
122
FIgUrE 352:
FIgUrE 353:
RecepTION & LIBRARy peRSpecTIVe RecepTION, LIBRARy & cOFFee BAR  SecTION
FIgUrE 355:
FIgUrE 356:
cURATOR OFFIce SecTION
123
3.9 towArds A dEsIgN proposAL
FIgUrE 357: Precinct perspective
124
125
1.
eN/
 
cHApeL OF TcHI N
VOIceS VOORTRekkeR R kO NTA
I
cHAMBeR RI U
exT
e FO
MISSIONARy ATe
R 
cHAMBeR W
BAROLONg 
cHAMBeR
ORAL HISTORy DIgITAL DIgITAL cONTROL 
RecORDINg ARcHIVe STORAge ROOM
pATH TO TeLL yOUR STORy 
HALL OF VOIceS
RecepTION & 
cOFFee BAR
LIBRARy BASOTHO cOLONIAL ApA
W RA TR H eT IO DM  B TOMB TOMB
TeA STAFF OFFIceS FILINg & cURATOR & 
gARDeN ROOM pReSeRVA- ASSISTANT 
TION ROOM OFFIce
RecepTION 
& FOyeR
TS LecTURe TOILeTS ReADINg 
OIL
e
T ROOM ROOM
ITe
 e
S RAg
TO N S TIO
Rec
ep
Ice
N OF
F
IBIT
IO & 
exH c
e
RAN
eNT
ND
FIgUrE 358: eTL
A
W
gROUND FLOOR pLAN
126
N
ALk
 
e W
UR
UL
pT H
Sc pA
T
 
RAM
p
Lk 
WA
UR
e 
pT
UL TH
Sc  pA
STA
IR
SApS TAcTIc OFFIceS
AUDITORIUM
TRADITIONAL cOUNcIL
cONTROL 
ROOM
cURATOR & 
ASSISTANT 
OFFIce
BOARD-
ROOM
2.
ReADINg ReADINg 
ROOM gARDeN
pARkINg
127
IUMR
ITO
UD
 TO
 A
pAT
H
ARcHIVe 
STORAge
ARcHIVe 
ReADINg 
ROOM
ReADINg 
gARDeN 2.
WITH 
gReeN 
WALL
FIgUrE 360:
BASeMeNT FLOOR pLAN
128
1. pODIUM
cHApeL OF 
VOIceS
MeMORIAL 
eNTRANce
FIgUrE 359:
MeMORIAL FLOOR pLAN
129
FIgUrE 361:
SecTION THROUgH pRecINcT
130
131
FIgUrE 362:
SecTION THROUgH RecepTION & ScULpTURe WALk
132
133
FIgUrE 363:
SecTION THROUgH ARcHIVe & BOARDROOM
134
135
FIgUrE 364:
SecTION THROUgH ARcHIVe & LecTURe ROOM
136
137
FIgUrE 365:
SecTION THROUgH OFFIceS & ARcHIVe
138
139
FIgUrE 366:
SecTION THROUgH cHApeL/MeMORIAL
140
141
FIgUrE 367:
peRSpecTIVe OF MUSeUM & ADMINISTRATION
142
143
exhibitions sink into site, revealing the buried voices
FIgUrE 368:
exHIBITION SecTION
144
145
FIgUrE 369:
peRSpecTIVe OF WALkWAy
146
147
FIgUrE 370:
SecTION THROUgH exHIBITION SpAceS
148
149
FIgUrE 371:
SecTION THROUgH ORAL HISTORy RecORDINg SpAce
150
151
FIgUrE 372:
SecTION THROUgH ORAL HISTORy RecORDINg SpAce
152
153
FIgUrE 373:
SecTION THROUgH AUDITORIUM AND cHAMBeRS
154
155
FIgUrE 374:
SecTION & DeTAIL OF AUDITORIUM
156
157
FIgUrE 375:
SecTION THROUgH cHURcH AUDITORIUM
158
159
FIgUrE 376:
SecTION THROUgH cHApeL OF VOIceS
160
161
FIgUrE 377:
peRSpecTIVe OF STORy STOp IN BRAND STReeT
162
163
FIgUrE 378:
SecTION THROUgH pRecINcT
164
165
3.10 T E C H N I C A L   I N V E S T I g A T I o N 
The technical investigation is a significant part of the design process as it explores the influences the site has on 
the project, the structural approach with regard to tectonic and stereotomic expression, sustainability, as well as 
the conservation elements that pertain to the building, and the building components that contribute to the over-
all functionality of the structure. These conditions are imperative to design resolution. Conceptually, the project 
attempts to use that which is old, buried and forgotten as a foundation on which the new can develop, and this 
should be reflected architecturally through the design’s structural considerations.
THe SITe
It is imperative that the proposed site be analysed in order to resolve a structural approach to the design, so as 
to respect the context in built form, as well as the objective of the proposed project. A considerable part of the 
structural resolution will probably be determined by the quantitative phenomenology, which may also influence 
the project’s technical aspects with regard to social characteristics. The micro-site analysis offers an investiga-
tion into the site’s topography, vegetation, geological information and climate. 
80 DegReeS The site itself is historical in terms of the ruined structures found on 
the site. It illustrates architectural languages that reflect colonialism 
and the influence of apartheid. The site has quite a steep slope that 
gradually levels out into a vast, open space used by pedestrians. The 
site is located to the north of the CBD and possesses commercial, 
institutional, residential and industrial characteristics. 
The structures within the context are mostly simple single-storey 
stereotomic structures. The houses within this area are predomi-
nantly constructed of  brick (some are plastered and painted) with 
a pitched corrugated iron roof or make use of recycled corrugated 
iron cladding fixed to a light steel frame structure. The houses that 
are more historical are built in a Cape Dutch or Victorian style, or are 
built out of ironstone, or sandstone quarried around Thaba ‘Nchu. 
60.9 DegReeS The commercial structures are also constructed of brick and cor-
rugated iron. The institutions on site have buttresses that become 
strong vertical elements on the facade, with corrugated iron roofs. 
The various architectural elements identified in the context were 
considered in the proposed design. There is a definite contrast be-
tween old and new structures in terms of maintenance and material 
use. 
37.4 DegReeS
FIgUrE 375:  Sun angles FIgUrE 376: Site location
166
eNVIRONMeNT & MIcRO cLIMATe
Considerations regarding climate greatly influence the DeSIgN ReSpONSeS SUITeD TO cLIMATe zONe 1
technical aspects of a design, especially concerning use of passive solar heating.
energy efficiency and comfort. Thaba ’Nchu is located 
in an area described broadly as the ‘cold interior’ in utilizing high thermal mass.
Climate Zone 1, according to SANS 10400. This classifi- effective insulation of the thermal mass, including slab edges.
cation influences the design of the building with regard Maximize the north facing falls and glazing, especially in liv-
to material choice and structural system. ing areas.
Minimize use of glazing on the east, west and south.
The area mostly experiences low humidity, summer 
rainfall and has four distinct seasons in which summer utilize adjustable shading.
and winter temperatures exceed human comfort (Vol- use double glazing and insulating frames: glass must be well 
lmer, 2011:105). The angle of the sun on the summer insulated for cold winters.
and spring solstice is 60,9 degrees, whereas in winter, 
Minimize the external wall areas on the east and west: orien-
the angle is 37,4 degrees. Bearing in mind the extreme 
variation in temperature between summer and winter, tate the building north.
the project is sited so that it receives maximum solar use cross-ventilation and night-time cooling in summer.
access and the use of thick iron stone walls presents Seal building properly against droughts and provide airlocks 
a high thermal mass that increases thermal comfort. at entrances.
Adjustable shading on facades is also used to address 
the extreme temperatures.  Reflective insulation can be used to keep out heat in summer.
Bulk insulation can be used to maintain interior thermal com-
Thaba ’Nchu may be described as semi-arid, which fort during winter.
suggests that the rate at which water evaporates from Walls, ceilings and floors should be bulk-insulated.
the surface of the ground is marginally higher than the 
(Schmidt, 2013: 104-105).
rate of precipitation. Therefore, the proposed project 
makes use of rainwater harvesting.
SOUTH AFRIcA cLIMATe zONeS
CoLD INTErIor
TEMPErATE INTErIor
HoT INTErIor
ArID INTErIor
TEMPErATE CoASTAL
SUB-TroPICAL CoASTAL
THABA ‘NcHU
FIgUrE 377: Climate zones of South Africa
167
TOpOgRApHy
The site for the design is located in central South Afri-
ca, with an altitude of more or less 1 532 m above sea 
level. The topography of Thaba ’Nchu is relatively flat 
with a few hills in the landscape and typical Highveld 
grasslands for vegetation. With regard to the site it-
self, a steep hill becomes a natural boundary to the 
project, which may cause drainage problems for the 
proposed structure (fig. 378). The hill is located on 
the north-eastern side of the site, sloping down to the 
south-western side. The slope has an overall height 
difference of 20 m. No municipal storm-water run-
off drains service the site. In this regard, the design 
channels the storm-water away from itself to the 
gardens at the lower end of the site (fig. 380).
Vegetation
The site has a few shrubs and various grass species. 
large non-indigenous eucalyptus camaldulensis 
FIgUrE 378: wetland on site
trees, approximately 15 m high, are planted in a row 
leading to the ruins of the NG Church (fig. 379). The 
precinct uses trees that are indigenous to the free 
State, including Acacia Karoo and leucosidea seri-
cea, to augment the exterior spatial quality and offer 
shade (fig. 380).
 
FORM & FUNcTION
FIgUrE 379:  Non-indigenous trees on site
The project respects the context by forming a visual 
connection with the context through  size, scale and 
materiality, i.e. the use of ironstone which is seen in 
the older house structures, brick and recycled cor-
rugated iron and material from ruins in the context. 
Also, the proposed project’s location is informed by 
the topography of the site, as are the structure’s in 
the context.
The form of the building was derived from connect-
ing the ruined structures on site with the functioning 
structures, bearing in mind that the existing struc-
tures are long and rectangular in form. In addition, 
the form of the proposed structure encourages 
movement throughout the precinct as the site is a 
threshold between the inner city and the residential 
areas.
N
FIgUrE 380: New planted trees on site & stormwater design
168
USeR BeHAVIOUR, SOcIO & ecONOMIc 
pROFILe
The primary function of the proposed project is to 
combine a museum and an archive. Combining these 
functions enables the design to store historical doc-
uments, while providing the public with access to the 
exhibition spaces.   
local labourers are used to construct the project in 
an attempt to involve the community. By this involve-
ment, a sense ownership may be developed among 
the users of the House of Memory. 
The design is open to all members of society, from 
the low-income group that predominantly inhabits 
the site to those who earn higher incomes. The de-
sign encourages all to record their narratives and to 
be enriched with historical knowledge of the area 
that had previously been wounded by colonial and 
apartheid rule. 
Accommodation List:
Reception
exhibitions
library
Coffee bar
Administrative offices
Archive: public & private
lecture room
Computer room
Recording facilities
Audio-visual Storage N
Memorial / Chapel FIgUrE 381:  Dark blue area show building form. Light blue area 
show proposed building form in existing structures.
Auditorium
Sculpture Walk
FIgUrE 382:  Local inhabitants of Thaba ‘Nchu in the CBD
169
N
UTILITy & SpAce eNHANceMeNT
The archive museum becomes part of the landscape. The 
main aim of the House of Memory is for visitors to appre-
Recycled corru- ciate the stories of Thaba ’Nchu and to become part of 
gated iron panels the rich historical context. The varying landscape aug-W
as light scoops ments the precinct by connecting the new with the old. 
The structure’s simple, rectangular form compliments the 
shape of the site without dominating it. 
The western elevation of the structure is varied so that 
it is protected from the harsh sun. Recycled corrugated 
iron panels on the west open to the north to maximise 
the amount of northern light that enters the building, con-
tributing to thermal comfort (fig. 383). The stone walls 
FIgUrE 383:  recycled corrugated iron panels are good sound insulators, and protect the interior spaces 
from the exterior sounds to enhance the experience of 
the design.
The stereotomic stone walls are contrasted with tectonic 
structures that grow out of them. The materials, name-
ly corten steel and iron stone (fig. 385), are used to en-
hance the experiential quality and the story narrated by 
the structure. The tectonic roof appears to float on the 
heavy walls. The walls define three main structures added 
to the site, and situated in such a way as to respect the 
context. The structures are connected by a labyrinth of 
ramps which connect the old with the new, forming a new 
narrative on the site.
exhibition spaces and the archive are mostly closed to 
minimise that amount of natural light and harsh glares 
FIgUrE 384:  Local stone used to construct the Barolong boo-Seleka 
kgotla caused by the sun which may damage the material. Vast 
windows connect the interior with the landscape, initiat-
ing a dialogue between the interior exhibitions and the 
surrounding, historical landscape.
The archive-museum is mostly single storeyed, respect-
ing the size and shape of the surrounding built context. 
The ground floor plan is divided into public and private 
functions. The public plan comprises of a reception area 
and lobby, ablutions, storage, an auditorium, a space for 
interviewers to record oral history, an exhibition space 
that is divided into three tombs that narrate the Basotho 
wars, as well as the colonial and apartheid effect on Tha-
ba ’Nchu, and a memorial chapel. 
The private section ground floor plan consists of a recep-
FIgUrE 385:  Local iron stone used to construct the birth place of tion area, offices, a boardroom, a kitchenette, a lecture 
James Moroka
room, and a private and more public archive. The archive 
is located on the lower floor as it aids in regulating tem-
perature to provide optimum conditions for the stored 
history.
FIgUrE 386:  Local stone used to construct houses
170
HORIzONTAL & VeRTIcAL cIRcULATION
Circulation is used to disconnect the user from his or her 
present in order to focus on and embrace that which is 
visualised through the architecture and exhibitions. 
Horizontal
The horizontal circulation separates public from private 
users of the building, namely staff, researchers and stu-
dents. Private users of the precinct mostly use linear cir-
culation routes, i.e. in the administrative section. 
Vertical
The exhibition space in the museum becomes a route 
in itself, a labyrinth. A ramp from the reception area in 
the chief house ruins leads the user down into the first 
tomb and then on to the second and third, sinking into the N
ground to bury the past. A sculptural path ramps upward FIgUrE 387:  Vertical circulation
to the memorial chapel, which sinks into the ground by 
means of steps. The area around the structures is land-
scaped using ramps and stairs to address the steep slope, 
and create a sensory experience. All of the ramps, wheth-
er they form part of the interior of the structure, or part of 
the landscape, have a ratio of 1:12, complying with SANS 
10400 Part D 3 that states ‘Any ramp or driveway shall 
be so designed that it is safe when used and is fit for the 
purpose for which it is intended’. The flight of stairs in the 
archive space adheres to SANS 10400 Part M: 2011 and 
also becomes an element used for spatial enhancement 
in the public section of the archive.
SITe pLANNINg & LANDScApINg
Site development
The landscape is integrated into the design. The House of 
Memory uses the ruins on the site to augment the func-
tion of the proposed project by adding functions to the 
ruins. The three new structures are informed by the or-
ganising principles of the old structures and stretch into 
the landscape itself, forming a memory park which com-
memorates the historical site. A sculptural walk connects 
the old axis on the site with the new, narrating the stories 
N
of people from Thaba ’Nchu, and commemorating the 
forgotten through the landscape (fig. 389). FIgUrE 388:  Horizontal circulation
The landscaping extends from the footprint of the struc-
tures in a more organised manner, finally disintegrating 
into the natural landscape. Indigenous trees reflect this 
principal through linear rows that dissolve into disorgan-
ised nature. The stereotomic stone walls dissolve into the 
landscape, forming boundaries and seating for users of 
the precinct.
Bus and taxi shelters augment the daily routine of the 
present inhabitants of the place. These spaces will take 
the form of collection and listening points for oral history 
in the urban landscape, further extending the House of 
Memory into the landscape.
FIgUrE 389: Sculpture walk
171
Water chanelled finally, the structures will once more be consumed by na-
to tank ture so that only the stone walls will be reminders of the 
story narrated by the structure.
Storm water control
JOJO Tank The 20m slope forms a natural slope for the storm water 
run-off. The roofs channel the rain water to JOJO tanks 
for water harvesting, while the excess water on the site 
are channeled away from the structures into the land-
scaped memory park.
The water from the JOJO tanks (fig. 390) are pumped 
to the sloped, green wall of the reading garden, where 
water is distributed through the hollow concrete blocks 
filled with soil and  plants, becoming a water feature the 
FIgUrE 390:  rainwater collection in design readers may look out on.
STRUcTURAL SySTeM
Stereotomic structure
The bulk of the building comprises of solid stone mason-
ry with iron stone, also known as dolerite (indigenous to 
the free State), quarried in Thaba ’Nchu. The core of the 
wall is a loadbearing, double layer brick wall to ensure 
structural integrity that has not been proved by the stone 
(fig. 391). The linear form of the structure is emphasised 
through 620mm thick iron stone walls, representing the 
old.
FIgUrE 391:  wall construction
Tectonic structure
Steel framing emerges from the heavy stone walls, rep-
260 50 110 200 resenting the ‘new’. The tectonic structure adheres to a 3 
000mx3 000m grid and supports a tectonic roof struc-
ture, with timber trusses and an iron roof sheeting. The 
framing supports corten steel cladding, recycled iron 
sheeting used as cladding and glass panels. 
Sub-structure foundations:
FIgUrE 392:  Basement wall construction A continuous strip foundation is used to carry the loads 
transferred from the super structure. The cast in-situ 
concrete foundations are used for the loadbearing walls. 
exterior loadbearing walls will have a foundation with di-
mensions of 900mmx500mm deep. The steel columns 
have foundations with dimensions 200mx600mm deep. 
The basement of the archive has a raft foundation
Super structure:  
A thick concrete box is used to protect the archive ma-
terial embedded in the ground.  A brick wall is used as a 
second skin to ensure that no water penetrates through 
to the material, which is finished with 200mm iron stone 
(fig. 392). 
This stone is a type of sedimentary rock that has a strat-
FIgUrE 393: Basement wall & foundation construction ified structure, significant in its use as a building mate-
rial. The material provides high thermal mass which has 
172
high heat retaining capacity and is slow to heat up or cool 
down. The stone walls have a high rate of heat transfer 
and will provide a cool interior for the structures in sum-
mer. They have low sound-absorption and a good sound 
insulator which contributes to the experiential quality of 
the proposed project in order to optimise the user’s ex-
perience. The long life span of stone ensures a desirable, 
long-term appearance that requires little maintenance 
(Vollmer, 2011:204). In time, the colour of the stone may 
change, only to add to the dynamism of the design and Corten panels
context. 
Glass facade
Steel framing is supported by the stone walls. It consists FIgUrE 394:  Panels channel North light into spaces
of columns, beams and lattice trusses. The steel structure 
is assembled and welded on site. The framing is mostly 
filled with glass. A second skin of Corten steel panels that 
may be adjusted to control the amount of sun entering, 
a passive design principal (fig. 394). The cladding is in-
sulated and soundproofed, repeated in the steel framed 
auditorium placed inside the ruins of the church.
Floor: Humidity 
controller
Sump
Cast-in-situ flooring, approximately 75 mm thick, and 
220 mm thick in the double storey archive space is used. 
Tongue in grove timber flooring is used as a floor finish 
with insulation. A samp is used beneath the archive’s floor 
to ensure water drainage. A dehumidifier is built into the 
wall to control the dampness of the air in the archive (fig. Dry, clean air
395). Damp, moist air
FIgUrE 395:  Humidity control in archive space & sump
glass:
The glazed glass used is 6mm thick laminated safety glass 
that complies with SABS 1263 part 1. The glass has alumin-
ium framing and is installed between the stone walls and Services in aluminium 
steel framing. service box, flush with 
the floor finish 
Roof:
Mono pitched metal sheet roofs are used throughout the 
design. Klip-lok 700 0,5-mm thick sheeting is attached 
to the timber purlins which are attached to the timber 
roof trusses. The timber ceilings are fixed in-between the 
trusses to expose them. The roof pitches vary to illustrate FIgUrE 396:  Services in the floor
different functions within the structure.
Service tray between 
double beams
BUILDINg SeRVIceS
Building services are the systems installed in buildings 
to make them comfortable, functional, efficient and 
safe. This is supported in both the SANS 10400-XA:2011 
and SANS 204:2008 documents which cover energy use 
in buildings. SANS 10400-XA supports National Building 
Regulations. 
FIgUrE 397:  Services inbetween beams
173
recycled corrugat-
ed iron panels
Timber floor finish
Brick paving 
from ruin de-
bris on site
LecTURe ROOM
pRIVATe ARcHIVe
FIgUrE 398: Section of archive & lecture room
174
galvanized steel sheeting 
as roof material
Corten steel
Ironstone from area
TOILeTS SeRVIce pUBLIc ARcHIVe
cORe
pRIVATe ARcHIVe
FIgUrE 399: Section of reading room
175
Fire protection
As the structure houses irreplaceable historical docu-
ments, protection against fire is vital to conserve that 
which is contained within the building. Adherence to 
SANS 10400: Part T: fire Protection in South Africa for B2 
classified structures is evident throughout the building:
A fire alarm system is used that includes smoke detectors, 
thermal detectors, flame detectors and fire-gas detectors 
that set off a fire alarm. This is installed in the stone walls 
to ensure easy access and that fire is detected before the 
documents are harmed. A fire hose is located within the 
service wedge leading to the exhibition. The reception 
area and lobby, lecture room, storage and administra-
tive spaces have portable extinguishers. An emergency 
route leads through the main entrances (also serving as 
escape doors) of each structure to the terraced space 
between the museum and administrative structures. The 
terraced space becomes a gathering point from which to 
exit the site (fig. 400). The materials used, such as the 
stone walls and polycarbonate roof, offer fire protection, 
and the insulated cladded walls offer at least two hours 
of protection.
HVAc
The building is passively designed to optimise heating 
and cooling which will be described in the sustainability 
report. Mechanical ventilation, which includes air-condi-
N
tioning, appears throughout the design to provide op-
FIgUrE 400: Emergency routes & gathering points timum temperature and humidity control to protect the 
historical documents. The outlet pipes for the air condi-
tioning will be placed on the roof, thus hidden from view 
on the ground level. The energy gained by the solar heat-
ers is used to operate the air conditioning. The auditori-
um id mechanically ventilated through the floor. 
Water supply
Water is supplied by the municipality and a solar water 
heating system is used in the structure, which complies 
with SANS 10400-XA:2011 (Vollmer, 2011: 128)
FIgUrE 401:  Fire equipment in stone walls Sewage disposal
Collected waste and soil water from the project is directly 
connected to the sewage system at a connection point 
provided by the Mangaung Municipality. The sewage is 
moved by gravity to the sewage treatment plant where 
hot air it is treated.
escapes 
Security
fresh air 
supply
Security is essential in a structure that houses historical 
documents. each of the access points has a reception 
area with a controlled entrance.
FIgUrE 402: Ventilation through office space
176
DeSIgN DeTAILINg: 
BARRIeR FRee eNVIRONMeNT
Accessibility 
The museum has free access to ensure that people from 
different income groups have access to their history. The 
House of Memory complies with SANS 10400 part S and T 
so that all spaces in the design meet the needs of visitors 
with impairments. The precinct is committed to providing 
all disabled visitors with access to all of the spaces within 
the structures.
 
Wheelchair access:
The structures and surrounding landscaped park are 
completely wheelchair accessible. The precinct consists 
of a labyrinth of ramps that address the steep slope. The FIgUrE 403: Disabled toilet layout (Sahf, 2015: online)
ramps comply with SANS, 2011: Part S as the slopes of 
all the ramps do not exceed 1:12 m. The material used 
for the exterior ramps include the fallen ruin materials 
on the site which offer enough friction and movability for 
wheelchairs. The interior spaces are free from steps or 
obstacles, and have timber flooring that does not restrict 
movement. Toilets for the physically disabled are wheel-
chair accessible with a door breadth of 95 cm and a seat 
height of 47 cm; hinged handles and handle grips have 
been installed and a wheelchair-adapted washbasin is 
available (fig. 403). The mirror is mounted at a suitably New plexi-glass audito-
lower height. The museum offers wheelchair availability rium
for physically disabled visitors. 
Old ereskuld 
NG Church
The Blind: 
Narratives in exhibitions are also exhibited in braille. FIgUrE 404:  Articulation between the old church and the new 
auditorium
Visitors:
 
Written narratives of the exhibition are available in all of 
the 11 official languages in South Africa.
SUSTAINIBILITy
To adhere to social, economic, and ecological sustainabil-
ity, designing buildings in a sustainable manner is used. 
The sustainability of a design may include the conserva-
tion aspects of the project, as well as environmental, so-
New louvred 
cial and economic considerations. structure
conservation
Ruins of the 
first Black 
As the site is located in a historical part of Thaba ’Nchu school in the free State
with historically significant ruins, significant decisions 
have been made to conserve the historical buildings and FIgUrE 405:  Chambers in school ruin
enlighten the community about them through the design 
of the precinct. The design of the structure is subtly inte-
grated into the site and communicates with the historical 
context in the form of a memory park, a sculptural walk 
and a memorial, as well as using the ruins as functions in 
177
Sun
Solar PV panels the design. Conservation is achieved through augment-
mounted on the roof 
transfer energy through ing the existing contextual conditions of the environment.
squared DC cables to The facades of the proposed structure resemble the 
inverter
DC/AC identity of the surrounding structures through material, 
Inverter rhythm and repetition. Where the design uses the ruined 
structures, form and materiality becomes very important. 
The existing house, used as the reception in the proposed 
project, is left as is. Only ceilings, floors and non-load-
bearing walls are added. The exhibition spaces added 
into the school ruins are lifted from the floor and artic-
ulated from the walls to emphasize the old. The form of 
this space is reminiscent of the old structure and informs 
the form hidden within the church. The auditorium in the 
church is constructed of timber trusses that support plexi-
glass. This material is 30% translucent so that there is a 
constant awareness of the old church. The proposed proj-
Batteries
ect suggests a new architectural language to become a 
threshold between the old and modern structures in the 
FIgUrE 406:  Solar panels converts energy from the sun to elec-
tricity, which is transferred to gel type batteries where it is stored. context.
Direct current is inverted to alternating current
energy & environmental sustainability
The project uses passive design solutions to reduce the 
use of artificial heating and cooling to achieve com-
fortable temperatures for interior spaces. Passive solar 
heating is attained through creating an insulated build-
ing envelope. Materials with a good thermal mass are 
used, namely stone, brick and concrete. large, open win-
dows are confined to the southern part of the building. 
WinBlok cill
fenestration on the northern side is shaded by louvred 
structures. The small amount of fenestration on the west-
ern façade is covered by corten panels that open to the 
110mm brick 
wall with void north, redirecting the desired light into the spaces. Trees 
for ventilation are planted in front of the western façade to offer shade 
against the harsh sun (fig. 410).
Black painted 
steel sheet, The habitable spaces, which include the coffee bar, li-
fixed to: brary, oral history recording room, offices and lecture 
rooms receive light from the north as well as from the 
east. All rooms in the building are naturally cross-ventilat-
Galvanised ed with the aid of mechanical ventilation in the auditori-
steel lipped 
channels. um, archive and exhibition spaces. 
Habitable spaces, such as the offices and learning rooms 
FIgUrE 407:  Ventilation wall receive northern light. The office spaces have adjustable 
shading devices on the eastern façade.
Modular, hollow concrete 
blocks serves as retaining 
wall and planters. collect-
Hot air ed rainwater is pumped 
escapes through the retaining wall, 
which is filtered by the 
plants.
Air cooled by 
green wall en-
Air is heated ters archive
by wall
Mechanically ven-
tilated archive
FIgUrE 408:  Passive ventilation in archive space
178
The archive and administrative building uses the green 
wall to cool the air which enters the basement space. This 
cooled air rises as it is heated through the wall in the 
service core. The wall is cladded with steel purlins that 
supports black painted steel panels, which heats the air. 
The air escapes through vents. The vents are constructed 
of WinBlok cills.
Lighting
Natural lighting is used in spaces that do not contain 
light-sensitive historical documents. These include the 
foyer areas, circulation spaces and offices. Diffused natu-
ral lighting is used in the memorial, exhibition and archive 
spaces. Artificial lighting is used throughout the design 
to enhance the experiential quality of the precinct. The 
electrical wiring of the lights are located in the service 
tray between the double beams void.
N
features that contribute towards the diffusing natural FIgUrE 409:  Existing buildings positioned according 
to topography of site
light are high ceilings with tall windows and interior light 
surfaces to reflect incoming light. 
Orientation
Sun
The orientation of the structures resembles that of the 
context, which is elongated on the north-eastern and 
south-western sides. The linear forms are fragmented 
to maximise desirable light to enter from the north into 
spaces such as the offices, lecture room and foyer spac-
es. The long, narrow design of the building increases the 
effectiveness of its passive design (fig. 409).
Materials
Materials commonly used by local unskilled builders will 
be used in order to employ local labourers in the con-
struction of the project. 
FIgUrE 410:  Trees used as shading devices
filtering plants
Protection 
cover
Grey water 
feed
Overflow 
(gravity feed 
to landscape)
Washed stones 1cm washed Gravel separator 
FIgUrE 411:  wetland on site gravel screen
179
40cm min.
green space & landscaping
Vegetation in front of the windows will serve as filtering 
devices to reduce the glare from the sun and allow cool 
air into the structures. The wetland on the site (fig. 378) is 
designed in order to use the water for irrigating the pre-
cinct. Some of the storm-water is channeled to the wet-
land, and grey water from the ablutions and kitchenette is 
pumped to the wetland where vegetation is used to filter 
the water. The filtered water is used to irrigate (fig. 411).
pARkINg DeTAILS & STANDARDS
Parking on the site is not a major problem due to the 
large, open space available on the site. The 30 parking 
bays are integrated into the design of the landscape to 
ensure that it does not affect the experiential quality of 
the design (fig. 412). Provision for bus and taxi drop-offs 
is made as most visitors do not own vehicles. The parking 
N spaces adhere to SANS 10400-D: Public Safety. The layout 
FIgUrE 412: Parking of the visitors’ parking consists of 90-degree bays with 
two-way movement aisles that minimise vehicle-to-ve-
hicle and vehicle-to-pedestrian conflicts. Parking for the 
disabled which has a 1,5 m minimum width access aisle 
between vehicles to allow for easy wheelchair access be-
tween parked vehicles is provided. The parking is soft-
ened by trees that shade the area.
180
3.10 TecHNIcAL ReSOLUTION: 
Documentation,  see AppeNDIx A
181
FIgUrE 413: Perspective of Thaba ‘Nchu CBD.
182
C H A p T e r
44.1 ReFLecTION & eVALUATION
183
4.1 EvALuAtIoN & rEfLEctIoN
December 2015
february 2016
I am drawn to the It is hard to 
strangely atmospheric Thaba give a voice to the 
‘Nchu. I feel the weight of history voiceless. The touchstone 
that adds to this atmosphere, and I love is making a sound, but is it 
it. The archives and the library seem to con- in tune with the melodies that 
tain a treasure of secrets, silent secrets which flow from this rich history? 
deserve to be loudly celebrated, silent in voice, My frustration builds as the 
but unavoidably… loud. The interviews immersed conceptual exercises are 
me into the minds of people who contained dragged out.
beautiful reservoirs of knowledge, things that 
appear lost, seemingly seeping out from the 
pages of a book. I want to give a meta-
March 2016
phorical microphone to this heritage, 
this history, but how will I do it 
through architecture?
Site analysis has 
channeled the voices into a 
clearer, almost audible voice. It made 
a song of a series of noises, adding with it 
the sounds needed to lay out the symphonic 
skeleton of this forgotten narrative. This proves 
to be the cognitive foundation for a museum and 
archive for the forgotten narratives of Thaba ‘Nchu. 
How can I sing history without using the old words? 
The existing structures and their voices are the crux 
of this melody. How can I sensitively yet powerful-
ly play an old song with modern instruments of 
architectural music? The frustrating process 
of building many topographical models to 
see where the music should be con-
structed seems futile, am I wast-
ing my time?
184
June 2016
Individual voic-
es make the song as it 
May 2016 is. This is not a narrative of 
a place, but the narrative of a 
people. The architecture must 
T h e 
voice the people. Each voice, 
cacophony finally 
each story, each narrative 
gives way to melodious har-
of every person must be 
mony. with each separate section, 
heard. Must be sung.
a voice emerged, all the clearer. The 
August 2016
theories I analysed makes me realise that 
this song needs the architecture and design 
created simultaneously. The rhythm and the 
Final 
notes can only have a proper voice when they 
notes are be-
hold hands. The rhythm makes tells me what the 
ing written. The com-
notes should be, and the notes tell me what the 
position is coming together. 
rhythm should be. The spatial quality to make 
The Magnum opus is beginning 
sense of these voices finally grasped, I can 
to look like the voice that needs 
see that my original melody was too con-
to be loudly celebrated. The value 
crete. I only listened to the background 
of the song presses me on more 
music that the place hummed si-
than anything. Passionately, de-
lently, yet I ignored the sing-
signs flow from my fingers as 
ing of the people.
if playing on a piano of 
scribbles and ink. 
A 
perfect song 
has never been writ-
ten. There is always more 
that can be done. It seems that 
there is more that could be done. 
But the work gives a voice to that 
which was voiceless and forgotten. 
Each structure, each brick, is a 
voice. And each voice is a vic-
tory against the void. Silent 
voices can be resur-
rected 
185
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