SCULPTING THE LANDSCAPE 
A CYCAD CONSERVATION CENTRE 
NARRATED AT GLEN LYON FARM, 
FREE STATE
MINETTE COERTZEN
“The land belongs to the voices of those who live in it.  My own bleak voice among them. The Free 
State landscape lies at the feet at last of the stories of saffron and amber, angel hair and barbs, dew 
and hay and hurt” 
Antjie Krog (1998) 
III
DECLARATION
I hereby declare that this dissertation submitted for the degree M. Arch. (Prof), at the University of the 
Free State, is my own work and has not been submitted to any other institution. All figures not 
referenced were generated by the author. All quoted text are indicated and acknowledged by a 
comprehensive list of references. (Annexure E) 
IV
SCULPTING THE LANDSCAPE
A Cycad Conservation Centre narrated at Glen Lyon Farm, Free State
Submitted by 
Minette Coertzen 
Submitted in partial fulfilment of the requirements for the degree 
MASTER IN ARCHITECTURE
MArch(Prof.) 
Department of Architecture, Faculty of Natural and Agricultural sciences, University of the Free State. 
Bloemfontein, South Africa. September 2019
Minette Coertzen:  2012031692
Email:  2minettec@gmail.com
: 
Supervisors: Prof. J.D. Smit, P. Smit
Co – Supervisor: Mx. J. Olivier 
Proof reader: Rita Booysen
7
SKY
IN BETWEEN
EARTH
ABSTRACT
The focus of this dissertation recognises a concern in the These explorations are then further developed and applied to the
constituted endangerment of the South African Cycad species, proposed project, to formulate an appropriate design resolution
where the condition of these plants has been governed by and a reflective study, thereby communicating an analytical
external circumstances, shaped by human and natural perception of the design process and project.
interventions.
The research highlights a shift in the reciprocal relationship
between humans and nature, where nature has become
secondary to the cultural impact of developed environments.
Therefore, this thesis aims to investigate the design of a Cycad
conservation centre, at Glen Lyon farm, as a narrative structure
functioning to form a cognitive relationship between humans and
nature.
The thesis further explores a meaningful architectural narrative
that celebrates a character relationship between the familiar Free
State landscape and unfamiliar Cycad species. The project
specifically focuses on providing a facility for conservational
research and implementing strategies at a national level, which,
accordingly, provide a platform for public awareness and
education. The investigation of the design project firstly identifies
challenges, along with corresponding aims, as possible guiding
solutions to the investigated project. Secondly, research methods
suitable within the parameters of the topic, were conducted in the
form of published literature, precedent studies, analytical sketches
and conceptual models.
TABLE OF CONTENT
III INTRODUCTION
V A CONSERVATION NODE I Aims and objectives
I Design Research
XIII DOCUMENT STRUCTURE
REFERENCES …144
ANNEXTURES …147
CHAPTER 01 CHAPTER 02 CHAPTER 03
CHARACTER OF THE FREE …35 
THE NATURE OF NARRATIVES …. 01 THE CHARACTER OF CYCADS…18 
STATE LANDSCAPE
2.1 ECHOES OF A CYCAD PAST
1.1 FROM NARRATIVES TO NARRATING 3.1 IN REALTION TO THE LANDSCAPE
2.2 THE CHARACTER TRAITS OF CYCADS 
1.2 NARRATIVES AS MAKING PRESENT 3.2 SITE SELECTION CRITERIA
2.2.1 Cultivation 
1.2.1 Cognitive Connection 3.2.1 Site selection investigation
2.2.2 Seed Propagation
1.2.2 Temporal + Spatial Structuring
2.2.3 Folktale: Mojadji rain queen 3.3 MAPPING THE CHARACTER
1.2.3 Framing Place
2.3 THE HISTORY OF A CONSERVATORY 3.3.1 South Africa’s landscape diversity
1.3 TOWARDS A NARRATIVE PSYCHOLOGY 2.3.1 Precedent Exploration 3.3.2 A cognitive connection to the site
OF MEANINGFUL PLACEMAKING 3.3.3 The physical characteristics of the site
2.4  TOUCHSTONE I Towards a View of the 
Future 3.4 PRECEDENT EXPLORATION
3.5 CONCEPT EXPLORATION 
CHAPTER 04 CHAPTER 05 CHAPTER 06
EMPLOTMENT: PATH … 71 THE NARRATIVE … 96 TECHNICAL SYNTHESIS …109
4.1 Architecture as mediator 5.1 The Final narrative  6.1 Introduction 
4.2 Precedent Explorations 5.2 Design Resolution 6.2 Site analysis
4.3 Design Development 5.3 Reflection 6.3 Sustainability Agenda 
6.4 Conservatory Analysis

INTRODUCTION 
A  CYCAD CONSERVATION NODE I Aims and objectives
DOCUMENT STRUCTURE
INTRODUCTION
INTRODUCTION
The ontological understanding of place and place–making Located within the Classical Landscape of the Free State, the
concerns the human act of dwelling in relation to natural and objective of the Cycad Conservation Centre is to provide a suitable
cultured place phenomena (Coates & Seamon, 1984:6). Human facility that will enable Cycad conservation actions in the form of
beings, as the sculptors of the built and natural environment, often research, cultivation and public awareness. The following aspects
regard the earth as a commodity with which to uncompromisingly are investigated to assist with the formulation of an appropriate
shape wilderness into cultured, human-made environments (Allen design resolution:
& Smout, [n.d.]:1). In fact, the SANBI report (2013:6) on South
• The cognitive relationship between man and nature
Africa’s biodiversity, warns that various parts of the country,
• The phenomenological, compositional and representational
specifically Gauteng, KwaZulu Natal and the North Western
relationships between architecture and the natural realm
Province, sacrifice enormous expanses of wilderness to
• A spatial exploration of a narrative composition within the
cultivation, mining and urban development. At this rate, protected
unique setting and specific functions.
areas excluded, these provinces will have almost no wild
• Passive and active environmental design solutions
surroundings left by 2050 (Figure 1).
appropriate to a facility located in a cold temperate plateau.
Aside from the general loss of natural habitat, the focus of this
dissertation stems from a concern in the constituted
endangerment of South African cycads. Botanists reported on
several occasions, that cycads have increasingly been
disappearing from their natural habitats over recent years,
designating many of the species as nearly extinct in the wild
(Donaldson, 2003:10). Therefore, this dissertation offers research
as the building blocks for a conservation strategy in the design of
a Cycad Conservation Centre at Glen Lyon Farm, Free State.
Figure 1: World map of endangered plant species zones, 
sketched from (KEW, 2019: online) 
III
The design research employs the notion of narrativity to guide the The design composition aims to guide the reader or the visitor
design process and structure the design composition of the through a portrayed narrative, embodying a series of sculpted
foreseen facility, that may be described as a contemporary experiences that memorialises already-extinct Cycad species and
interpretation of various South African folktales, concerning man’s further celebrates both landscape characters accommodated
experience within the character of nature (Figure 2). The proposed within and around the architectural language. By building on the
building attempts to convey a narrative thread between two main elements of a narrative structure, the design of the conservation
protagonists: the familiar classical landscape of the Free State centre aims to emplace humans in an experiential relationship
and the unfamiliar South African cycad species. with the narratives of the Free State landscape and the South
African Cycad species. Consequently, providing a curated
experience where the potential for intellectual growth in both
public awareness and scientific research is accessible to
surrounding communities.
Figure 2: An interpretation of the Free State landscape 
IV
A CYCAD CONSERVATION NODE
“Cycads for Africa” was established by owner Steve Trollip in a
small town called Brits in 1995. The aim was to identify key factors
which would lead to a more successful conservation programme
in South Africa (Trollip, 2018: online). Journalist, Beth Coetzee
(2018: online), described Trollip's passion for nurturing Cycads by
saying: “We bounced from plant to plant, a full background story
being given on each.... To the untrained eye, many of the species
look almost identical but Steve can spot their subtle differences
from far away.” (Figure 3) The overriding theme for the
established programme is conservation through cultivation.
Hence, Trollip is motivated to develop a facility where cultivation,
research and commercialization of many critically-endangered
Cycad species are possible (Trollip, 2018: online).
CHALLENGES, AIMS AND RESEARCH QUESTION
The design of a Cycad Conservation Centre will act as one of
Steve Trollip’s Cycad conservation nodes, which aims to address
the current need for a “conservation through cultivation” strategy.
Furthermore, the design will address the need for accommodating
a research and seed export facility, which includes Cycad
conservatories, as cultivation hubs and public destinations to
increase awareness of the endangerment of Cycads in South
Africa.
Figure 3: Client, Steve Trollip (Coertzee, 2018: online)
V
With the natural habitats of Glen Lyon farm as the setting, this DESIGN RESEARCH
project is based on an evaluation of the land’s instinctive
character, in terms of its historically-rooted indigenous values and The following methods were employed during the study:
the existence of a connected landscape narrative. Therefore, the • Studying the spatial significance of accommodating
research provided aims to scrutinize and recognize a design various plant species, in terms of passive and active
resolution that evaluates how an interpretation of architectural design strategies.
narrativity can augment the relationship between the familiar and • Analysing and interpreting existing site conditions, in terms
unfamiliar flora of the Free State landscape. In so doing, a of climatic conditions and the status of existing vegetation
sympathetic relationship between the public visitors and the on site.
natural realm accommodated within and around the architecture • Investigating, interpreting and applying knowledge gained
may be constructed. by studying and analysing relevant precedents.
• Conducting historical desk research on the typology of
The proposed design explores the typology of paths in order to conservatories and the Cycads accommodated.
constitute a journey through a series of conservatories, alongside • Establishing the brief, accommodation and programme, by
research and cultivation facilities and the landscape. The design means of literature research on the physical properties and
focuses on both the public and private realm to cater for both cultivation needs of cycad species, as well as relevant
visitors and professional users. The design facilitates interaction precedent studies.
where these users meet. As part of the design process, the • Formulating relevant concepts as possible design tools, by
following challenges were investigated: means of conceptual interpretation of site analysis and
Cycad analysis, as well as theoretical desk research.
• The journey as a narrative thread through the narrations of • Developing and finalising the design
the familiar and unfamiliar landscape characters • Structural and material research precedents
• The architecture as a mediator between man and nature
• The site-specific climatic conditions
VI
DOCUMENT STRUCTURE
RESEARCH QUESTION CHAPTER_01  THE NATURE OF NARRATIVES
This chapter conveys an understanding of narrative
How can an interpretation of narrativity be employed in the functions and its structural composition, to understand
how humans relate to their surroundings and others.
design of a Cycad Conservation Centre to augment and 
Specific to Ricoeur’s theory highlighted in Architecture
architecturally sculpt the relationship between the familiar 
and Narrativity (2016), the chapter consists of three
Free State landscape and the unfamiliar flora? 
main sub-sections: Cognitive Connection, Temporal and
Spatial Structuring and Framing Place, discussing the
three stages of a narrative as delineated in Ricoeur’s
argument, parallel to precedents and case studies.
CHAPTER_02  THE CHARACTER OF CYCADS
This chapter presents a concise understanding of South
African Cycads, in terms of their historical background
and physical properties, specific to understanding their
requirements for optimal growth and reproduction.
Furthermore, the chapter offers an investigation on
conservatories as the project typology, to formulated an
understanding of how nature can be accommodated in
an unfamiliar setting. It portrays a ‘pre-narrative’ stage
of the design process, while simultaneously composing
a narrative composition of the Cycad character itself.
VII
CHAPTER_03  THE CHARACTER OF THE CHAPTER_05  THE NARRATIVE
FREE STATE LANDSCAPE 
Here the final stage of a narrative is presented, in the
In response to the research discussed in chapter 2, form of a final design resolution, together with a
this chapter briefly investigates three possible reflective study. The purpose of this chapter is to
settings for successfully accommodating South formulate a shared understanding of the architectural
African Cycads. It then continues to discuss and narrative, between the author/ designer and the reader/
exemplify the conceptual and physical peripheries examiner. It allows for a platform where the author of
of the selected site: Glen Lyon farm, situated in the this dissertation reinterprets the architecture, by
Free State, to convey an understanding of the concluding with a reflection, and where the reader is
familiar landscape’s character. Here, a cognitive provided with the opportunity to interpret and reinterpret
connection is presented together with a narrative the architectural narrative, by reflecting on past
structure of the Free State landscape’s character. experiences and imagining a view of the future.
CHAPTER_04  EMPLOTMENT CHAPTER_06  THE TECHNICAL SYNTHESIS
An analysis, in terms of precedent studies is This chapter presents the technical investigation of the
conducted on the typology of a ‘path’, with the site and the structural and material selection in the
intention of constructing a narrative experience for design of a Cycad conservatory. The chapter
humans between the unfamiliar Cycad species and selectively refers to the design research, conveyed in
the familiar Free State landscape. This chapter chapter 2 and 3, to present a full understanding of the
presents the second stage of narratives, known as technical decisions presented in the design of the
the ‘configuration stage’. The design development project’s conservatory.
conveys the process of constructing a narrative in
terms of architectural design, by means of collecting
and assembling a sequence of spatial events.
XIII

1.1 FROM NARRATIVE TO NARRATING
1.2 NARRATIVES AS MAKING PRESENT 
1..2.1 Cognitive connection
1.2.2 Temporal and Spatial structuring 
1.2.3 Framing Place  
1.3  TOWARDS A NARRATIVE THINKING 
OF MEANINGFUL PLACEMAKING 
CHAPTER 01 _THE NATURE OF NARRATIVES    
1.1 FROM NARRATIVE TO NARRATING
Narratives have always been an essential part of our everyday The chapter starts with an outline of Ricoeur’s narrative theory,
life. It has always fully embedded a way of communication and a followed by a discussion on narrative composition. It then
way of making sense of our past, present and imagined continues to discuss and exemplify the three notions central to
experiences. The act of narrating dates back to the beginning of Ricoeur’s argument on the structural nature of a narrative. The
human existence, where stories were told in the form of myths, chapter concludes with a concise discussion on the use of
legends and folktales in order to carry knowledge and wisdom narratives in architectural design, with specific reference to this
forward from one generation to another (Tobin, 2006:3-1) (Figure dissertation topic, and design project.
4). The word ‘narrate’ originates from the Latin word gnoscere,
meaning ‘to know’ and was first used in 1656 in the context of
telling a story (Merriam-Webster’s Online Dictionary, 2019).
According to Brian Schiff (2012:34) “Narrative is a powerful
metaphor for understanding life… Narrating discloses experience.
Importantly, we move from understanding narrative as a static
entity and begin to view it, more accurately, as a process.
Narrative is a doing, a happening, an eruption. Or, as I like to think
about narrating, it is an expressive action, unfolding in space and
time.” (Figure 5)
The purpose of this chapter is to convey a concise understanding
on the notion of narrativity, with specific reference to the structural
nature of a narrative. The theoretical framework investigates the
central concepts highlighted in Paul Ricoeur’s philosophical essay
titled, Architecture and Narrativity (2016) to understand how the
dynamic process of a narrative functions to create meaningful Figure 4: Stories told in the Kalahari desert. 
(The gods must be crazy, 1980: movie) 
places.
2
01_ NATURE OF NARRATIVES
Figure 5: Concept sketch of narratives in our surroundings. 
3
01_ NATURE OF NARRATIVES
1.2 NARRATIVES AS MAKING PRESENT
Writing a narrative is like constructing a place, both configures Accordingly, no narrative can be understood without experiences
temporal events, acts, chance and change in an intelligible and in time and space, and no experience can exist without narrative.
communicative way, in reference to the surrounding environment, It is within this framework that Ricoeur forms a conception of what
other memories, or a way of life that precedes the story or the it means to construct a narrative as a whole and how the act of
building. The configuration a narrative between the built and narrating functions to make sense of life.
natural environment is to create a node in the present where
Ricoeur begins with a simple analogy between narrativity and
chronological and psychological time, past and future actions
architecture, in which he explains the configuration of a narrative
within which humans’ dwell, intersect (Ricoeur, 2016:34-38). The
in time parallel to the construction of a building in space. He
mere understanding of a narrative charts the notion of collecting
explains that “…it is really a matter of crossing space and time
and recollecting in what we refer to as memory or imagination.
through building and recounting.:. to entangle the spatiality of the
French philosopher, Paul Ricoeur (2016: 31) describes this
narrative and temporality of the architectural act.” (Ricoeur, 2016:
phenomenon as, “’making the absent thing present’… the absent
32). Concurrently, the temporality of the architecture brings forth
as simply the unreal, which would then be the imaginary, and the
the dialogue between memory and building, which accordingly
absent-which-once-was, the previous, the before.”
portrays the narrative function with the relationship between man
The progression from memory to narrative adopts a methodology and the built environment. It is in this understanding of the
where humans build relationships with their surroundings by narrative function that three central notions were identified to
means of constantly evaluating what once was, collecting what is, comprehend the structure of narration within a built environment
and allowing for what can be (Ricouer, 2016:32). The discourse as a whole.
between time and narrative portrays the ontological layers of The first notion, cognitive connection, relates to the act of giving
actions and experiences (Dowling, 2011:19). Time within a presence to past or imagined experiences. The second notion,
narrative approach, translates to the lived experiences of human identified as temporal and spatial structuring, gives meaning to
beings - the essence of narration only attains its core meaning past, present and imagined events; and the third notion, framing
when mediated within a time-based existence in real spaces place, provides presence to shared understandings of narratives.
(Kaufmann, 2010: 82).
4
01_ NATURE OF NARRATIVES
1.2.1 COGNITIVE CONNECTION
Cognitive connection refers to the innate awareness between In architectural terms, prefiguration means that the architect must
ourselves and the spaces we dwell in. It is a relationship that is reflect, interpret and attempt its best to understand the world of
established well before a new narrative or building is put into any which it is a part, that precedes it, which is shared by others and
form of composition (Ricoeur, 2016:33). Ricoeur highlights this which it wants to relate into a new narrative. In order for the
notion in “Architecture and Narrativity” (2016:33) by describing it architect as writer to configure an intelligible narrative, it needs to
as the ‘prefigured’ stage of a narrative. He explains that narratives understand the world of its protagonist: in my case that means the
are composed from a preunderstanding of previously lived- narrative of the cycads and the narrative of the Free State
actions. Without any such understanding it would not be possible landscape. . However, preceding these worlds, it also means an
to narrate our experiences within the world, or allow others to investigation into the nature of humans, and the nature of human
understand what we have experienced or what stories we tell interaction with the environment. It is on the latter that I employ a
(Ricoeur, 2016:33). It is in this stage of narrativity where two case study of an experienced understanding of the urban dweller
assertions originate: first, the nature of human knowledge and in Bloemfontein and its relationship with the urban and natural
second, the nature of being. Both likened to narrative as knowing environment of Charlotte Makeke Street.
through reflecting on the narratives that surround us, and existing
by recognising our stories-in-action and the stories-in-action of
others (Kaufmann, 2010:84, Ricoeur, 1992:). In order to act
meaningfully within the wold, a practical knowledge is needed by
the being that dwells on the Earth (Figure 6). According to Tissink
(2016:21), it is through “narratives, stories, events and memories,
[that] we feel connected to our environment and we form our
identity. Narratives contain information about where we come
from, so we can understand who we are and have an idea about
how we see our future.”
Figure 6: Concept sketch of beings that dwells within the built and 
natural environment. 
5
01_ NATURE OF NARRATIVES
COGNITIVE CONNECTION |  A CASE STUDY
Reflecting on the cognitive relationship between the environment
and identity is an active part of designers’ understanding of the
narratives embedded within an environment (Tissink, 2016:21). It
is by understanding the prefigured cognitive relationship that the
writer itself builds a cognitive relationship with the reader. In the
case of architecture, by reflecting on the existing relationship
between humans and the environment, a cognitive relationship is
simultaneously formed between the architect as writer, the
architecture as narrator, and the client, the users and the dwellers
of a place, as the reader of the architectural text. It is through the
act of communicating absent past or imagined experiences into
the social dynamics of the real world, that a designer has the
ability to act meaningfully within a community’s historical or
cultural context. However, it is also important to understand the
limitations around making absent experiences present. For Schiff
(2012: 38), “There is always a gap between what we know and
experience and what we tell. The gap consists of the inability of
words to truly capture and represent events.”
In the following case study of Charlotte Makeke street, a cognitive
relationship of my past experiences as an architectural student
reflecting on the built environment of Bloemfontein is presented to
convey my present understanding of humans in relation to the
built and natural environment (Figure 7). Figure 7: Narratives told by humans and nature. 
6
01_ NATURE OF NARRATIVES
The memory of the stories told by both the everyday dweller and
the everyday natural realm within the build environment of
Charlotte Makeke street, presents a clear understanding of the
notion, ‘making present’ in terms of communication, written text, or
performance (Figure 8). It was within this particular context that I
observed and understood how narratives became active through
the subjective experiences inscribed onto the setting by the bodily
actions of the dwellers going about their everyday activities
(Figure 9). Aside from the dweller’s experiences portrayed within
Charlotte Makeke street, I also remember observing a second
narration taking place when the intangible touch of nature
imposed a texture of life onto the tangible setting. It was through Figure 8: My memory of the city’s childlike character 
the ritual of the sun’s movement across the cityscape, that I
perceived nature’s way of communicating its own identity to the
dweller, by simply using the face of a building as a blank canvas
onto which it portrays its presence. It was in this moment that a
cognitive relationship between myself and others was established
with the natural environment, as well as understanding the role of
architecture as the medium through which the identity of the sun is
communicated within time and space (Figure 10).
Figure 10: The sun portrayed in 
Figure 9: Advertiser in the street
Hoffman Square
7
01_ NATURE OF NARRATIVES
1.2.2 TEMPORAL + SPATIAL STRUCTURING 
In the very real sense of composing a narrative, a line of thought The second factor, defined by Ricoeur (2016:35), is ‘intelligibility’,
is established making something present which occurs within a which highlights the function of narrative modes as a mere attempt
sphere of space and time (Schiff, 2012:38). It offers a to understand the complexity within narratives of life. This factor is
comprehensive account whereby Ricoeur (2016:34) defines this conveyed in terms of a golden thread constructed by means of
stage of narrativity as ‘configuration’ - where the act of recollection emplotment, that unifies the various narrative patterns as a whole
liberates itself from the framework of lived experiences and and thus develops a recurring theme throughout the narrative.
constitutes a progression into a literary sense of understanding. It Thirdly, the factor referring to the juxtaposition of confronting
is a notion that retains a structuring function, where the dweller narratives, in what Ricoeur (2016:35). defines as ‘intertextuality’.
begins to arrange memories of the past, experiences of the The content of a narrative, in most cases, consists of several other
present and the imaginative discourse of the future, as a way of narratives that form contradicting patterns amongst one another.
constructing meaning within a collection of events (Kearney, R. This sense of discontinuity within a narrative brings about the
1991:55,64). possibility of constructing and deconstructing the unfolding thread
between events (Ricoeur, 2016:35). Hence, adopting the notion of
With a brief understanding of narrative configuration, Ricoeur
concordance and discordance, where the latter is a discontinuity
(2016:35) then continues to explain this notion by identifying three
that interrupts or twists the storyline, while concordance embodies
key factors central to ‘configuration’. First, the synthesis of events,
the continuity that follows through the instances of discontinuity
diverse in character or content, in what he refers to as
(Ricoeur, 2016:35) ( Figure 11 & 12).
‘emplotment’. According to Kaufmann (2010:89) “The notion of
emplotment is borrowed by Ricoeur from Aristotle’s concept of
‘composition’, mythos in Greek, ‘which means both ‘fable’ (in the
sense of imaginary story) and ‘plot’ (in the sense of ‘well-
constructed history’)” Hence, a comprehension of the world
through narratives, is merely an augmented reality of the world’s
actions, encompassing its own ontological layering (Kaufmann,
2010: 90).
8
01_ NATURE OF NARRATIVES
TEMPORAL+SPATIAL STRUCTURING | PRECEDENT
To convey a parallel understanding between the act of configuring
a narrative and the act of spatial synthesis, the following
precedent is investigated to understand how narrative structuring
can play a role in architectural design. Narrative rationality in
spatial emplotment is a major factor in the composition of various
independent elements, such as units of space, immense forms
and boundary surfaces (Figure 11). In the case of the “Hector
Pieterson Museum”, the design successfully conveys a sense of
complexity within the spatial configuration which narrates the
memory of the 1976 Soweto uprising of black children in poor
educational upbringings (Joubert, 2009: 130) (Figure 13). The
Figure 11: Concept sketch of structure of the narrative, is experienced according to the
spatial configuration. circulation route of the design, in which the idea of a spiralling
circulation pattern formulates an adequate concordance within the
discordance of accordingly choreographed spatial events (Figure
14).
Figure 12: Concept sketch of 
Figure 13: Spatial sketch of Soweto Figure 14: A circulation and structural parti sketch of the museum’s narrative.
con/ discordance in space. 
9
01_ NATURE OF NARRATIVES
PRECEDENT | Hector Pieterson Memorial Museum
Location: Orlando West, Soweto
Architect: Mashebane Rose Associates
Year: 2002
The accommodation list of the design offers a manifold of
continuous readings that guide visitors throughout the narrative as
a whole (Figure 15). The journey begins with a commemorative
square in front of the entrance and then further guides visitors to a
ramp leading around the periphery. The narrative embodiment
within the exhibition spaces consists of articulated views by
means of engraved narratives on the windows, juxtaposed with
the contextual views of the surrounding Soweto township (Figure
16 & 19). The central courtyard is gravel - filled with memory
plaques of the students who died, offering nothing more but views
of the heavenly sky (Joubert, 2009:130) (Figure 17 & 18). Figure 15: Floor plan sketch, highlighting the sequence of events. 
Figure 17: Memory plaque 
Figure 16: Narrative window (Mashabane Rose: online) (Jonker,2012: online) Figure 18: The central courtyard. (Mashabane Rose: online)
10
01_ NATURE OF NARRATIVES
Figure 19: View of Soweto surroundings, overlooking the commemorative square. (Mashabane Rose: online) 
1.2.3 PLACE FRAMING
The final notion identified, embodies the totality of knowing how the text by finding in it a world of possibilities.” Hence, it can be
the dynamic process of a structured narrative continues to interpreted that the dialogue between a narrator and a reader at
function within a shared environment. In “Architecture and this stage of narrativity, serves to make present a shared
Narrativity” (2016:39), Ricoeur concludes the final narrative stage, understanding of past and imagined experiences.
‘refiguration’, by establishing a theoretical stance in the context of
The interplay between a narrator’s composed narrative and a
a reader’s re-interpretation. He begins by stating that a narrative is
reader’s interpretations, by means of memory and imagination,
not fully developed after it has been configured by its author or
highlights an analogy in the relationship between a designer and
architect. It really only achieves its full potential once it has been
an observer. The following case study is presented to portray how
‘refigured’ by its reader (Ricoeur, 2016: 39).
a detailed grasp of this notion can assist designers to selectively
The progression from narrative composition to the reading of text attract the awareness of observers within a staged narrative
provides a theoretical framework where the configuration of a (Figure 20). According to Tissink (2016:27), the process of
narrative only results in intelligibility, when the narrative is constructing a narrative, provides the designer with the ability to
perceived and reinterpreted by a reader (Kaufmann, 2010:93). share a narrated experience, by inviting an observer’s attention
However, in addition to the latter understanding of this notion, through the notion of framing place. It allows the observer to dwell
Ricoeur continues his theoretical argument by portraying a within the selectively narrated experiences of the designer - in
comprehensive account on how the reading of a narrative spirals which to “dwell” refers to taking ownership of the text and to
back to the intersection between the second notion, temporal and identify and orientate in the text through the use of imagination.
spatial structuring, and the first notion, cognitive connection. He Hence, it is within this notion that the reader shares an
states that the act of reading a narrative, can merely be described understanding of the narrated experiences but also frees itself
as a response from the reader’s preunderstanding of past or from the meaning of the author.
imagined experiences (Ricoeur, 2016:39). According to Kaufmann
(2010: 93) “The reader ‘fulfils’ the meaning of the text by “dwelling”
in the world of the text. At the same time the reader is enriched by
12
01_ NATURE OF NARRATIVES
Figure 20: Concept sketches of framing views in architecture.
13
01_ NATURE OF NARRATIVES
FRAMING PLACE| PRECEDENT
In the case of artist Gordon Froud’s narrated art exhibition titled:
Harmonia (Sacred Geometry, the Pattern of Existence), the latter
notion is distinctly present in the form of a curated representation.
The framed views selectively positioned, encompasses a series of
photographic works, depicting the shapes of Platonic Solids that
act as disruptions in the landscape by way of displaced reflections.
It was through the use of geometry, imposed onto the landscape,
that Froud was able to successfully engage the viewer in a
narrative dialect perceived through the lens of the camera and the
eye of the artist (Figures 21 & 22).
The nature of Froud’s exhibition not only successfully frames Figure 21: Artwork 1
narrations of the landscape but also captures the viewer’s ability to
reflect on the portrayed events. He achieves this through the use
of a reflective photographic medium, subsequently allowing the
viewer’s image to reflect onto the framed image itself (Froud,
2019: Oliewenhuis Exhibition) (Figure 23). It is at this moment
where the viewer really engages in a shared understanding of
Froud’s narrative, described as, “if one looks at the statement
‘God created man in His image’, perhaps it is in Geometry that a
micro/ macro-man/ God pattern becomes evident” (Froud, 2019:
Oliewenhuis Exhibition).
Figure 22: Artwork 2  
14
01_ NATURE OF NARRATIVES
Figure 23: Artwork 3
1.3 TOWARD A NARRATIVE PSYCHOLOGY OF MEANINGFUL PLACEMAKING
The theoretical framework presented in this chapter first and needs as well as the cognitive understanding of the site, to
foremost communicates the meaning of a narrative and the act of formulate a design concept.
narrating as a way of expressing human knowledge to form
TEMPORAL STRUCTURING | Configuring dwelling
identities within the world. The chapter, then continues to discuss
The second notion focuses on the formation of a narrative, by
the structural function of narrating, as making the absent thing
means of emplotment. This entails the ordering of events,
present, from which three central notions are discussed, in
character narratives and settings, to achieve a unified portrayal of
reference to Paul Ricoeur’s philosophy on architecture and
past and imagined stories. It is within this notion where the act of
narrativity.
building or designing presents an analogy to the act of composing
To summarize these three notions, a concise interpretation on
a narrative (Ricoeur, 2016:32). Specific to this dissertation, the
each notion is presented parallel to the process of designing
second stage initiates the design process of the project, in the
architecture. The purpose of this summary is to understand how
form of precedent studies, parti diagrams and a quantitative site
the theoretical framework is applied in the design process specific
analysis, as a means to forming a character sketch of the users
to this dissertation, thus formulating a comprehensive account on
and the site, as well as the ordering of events structured in the
both the document structure as a whole and the structure of the
accommodation list.
chapters to follow.
COGNITIVE CONNECTION | Dwelling in the world before building SPATIAL FRAMING | Identifying and orientating with the building
The first notion highlights the preunderstanding before a narrative The third notion focuses on the act of reading and interpreting the
takes shape. This entails the act of collecting and recollecting past narrative. It is the stage where the narrative is understood, in
and imagined experiences, to understand a personal reflection order for the reader to reflect and further imagine possibilities.
from which the second notion originates. In reference to According to Ricoeur (2016: 32) it is the stage in architecture that
architecture, this notion relates to the idea of inhabiting, or what I progresses back to a thoughtful inhabiting. Hence, the third stage
would refer to as “reason for building” (Ricoeur, 2016:32). In other concludes the design process with a final design and technical
words, before the designing of this project was initiated, the first resolution that is reflected on by the writer and re - interpreted by
stage entailed explorations to establish the client and users’ the reader.
16
01_ NATURE OF NARRATIVES
THE NARRATIVE STRUCTURE OF THE DISSERTATION
17
01_ NATURE OF NARRATIVES

2.1 ECHOES OF A CYCAD PAST
2.2 THE CHARACTER TRAITS OF CYCADS 
2.2.1 Cultivation 
2.2.2 Seed Propagation
2.2.3 Folktale: Mojadji rain queen
2.3 THE HISTORY OF A CONSERVATORY
2.3.1 Precedent Exploration
2.4  TOUCHSTONE I Towards a View of the Future.
CHAPTER 02 _ CHARACTER OF CYCADS
2.1 ECHOES OF A CYCAD PAST 
Beyond the modern perceptions of Cycads, lies a deeply rooted
history that can be traced back to a time - when dinosaurs still
roamed the earth (Goode, 1989 :13). Constituting an existence of
roughly 200 million years, the plant life of Cycads established one
of the dormant behaviours throughout Earth’s history. They are
often referred to as the ‘living fossils’ of the botanical domain
(Goode, 1989:13).
The historical documentation of South African Cycad species,
dates back to the first cycad collected by botanist, Carl Peter
Thunberg in 1772 (Giddy, 1974:12). It was during this three-year
exploration throughout South Africa that Thunberg, accompanied
by Francis Masson (KEW’s first plant hunter), gathered the first
cycad known today as Encephalartos longifolius, along with 3000
other cycad specimens (Giddy, 1974:12). More than 200 years
later, South Africa’s first collected cycad still thrives today in the
Palm House of KEW gardens in London (Avis-Riordan, 2019:
online)(Figure 24).
Many Cycad species have since then survived the natural
dangers of the world, such as fire and drought, but today they
struggle for survival against the threats inflicted by human greed
(Jones, 1993:21).
Figure 24: Oldest pot plant in the world, 240 year-old Eastern Cape 
Cycad (Avis-Riordan, 2019: online).
20
CHAPTER 02 _ CHARACTER OF CYCADS
ECHOES OF A CYCAD PAST  I TOWARDS A BETTER FUTURE 
The practice of conservation in South Africa originated with the
first hunter – gatherers, through the management of using natural
resources. (Grundy & Wynberg, 2001: 18) Over time, these
management strategies have changed radically, as the network of
the South African plant diversity continues to be threatened due to
human impact, where there is a rapid growth in agricultural and
urban development. (Raimondo, Grieve, Helme, Koopman &
Ebrahim, 2013: 1) (Figure 25).
Aside from the destruction of natural habitats resulting in a
population decline of Cycad species. The ongoing decrease in
numbers also stems from the fact that Cycads are slow growers
that generally produces one cone with up to 500 fertile seeds
each year. Subsequently a few survive in the natural habitat, due
to drought, fire or natural predators (Giddy, 1974:13) Hence, to
continue the interest in these ‘living fossils’, while maintaining the
population rate, conservation strategies in the form of cultivation
and propagation from seed, as well as increasing the availability
of seedlings to the public and commercial nurseries, will assist in
relieving the strain from natural suppliers (Giddy, 1974:13).
The focus of this chapter is to review the physical and conceptual
character traits of South Africa’s cycad species . It serves as an
exploration in the cultivation requirements for cycads, in order to
Figure 25: Historical photographs identifying the disappearance of Cycad 
successfully design a conservation centre, specific to the typology
species from their habitat in South Africa. (Donaldson. 2003:11)
of a conservatory.
21
CHAPTER 02 _ CHARACTER OF CYCADS
2.2 THE CHARACTER TRAITS OF CYCADS 
As living remnants from a long history, the general morphology of
Cycads has presented an extent of evolutionary stagnation when
compared to their ancestors, in the examination of fossils. Traces
of primitive features in the plant structure is still evident in the
modern Cycad today (Figure 26). According to Goode (1989:13)
“like all gymnosperms, [they] still carry their ovules naked on
cone-scales and not enclosed in an ovary as in the more
advanced angiosperms. Indeed, the seed-bearing structure or
‘inflorescence’ of the genus Cycas are even more primitive than
those of other cycad genera: instead of a cone, Cycas produces a
much-branched arrangement or sporophylls. These leaf-like
structures resemble those of the extinct Palaeozoic
pteridosperms which had not developed cones and produced
ovules directly on their leaves.” However, cycads are still
evolving, due to their capability of responding to a wide range of
environmental conditions (Jones, 1993:21)
2.2.1 CULTIVATION
The following sections of this chapter presents a summary (Table
1) of the cultivation conditions required for each accommodated
Cycad species. There are 38 South African Cycads in total, that
naturally occur in three different climatic zones, namely: sub-
tropical coastal, hot interior coastal and temperate coastal
regions (Refer to Annexure A for more information).
Figure 26: The Madjadji Cycad (Goode, 1989:133)
22
CHAPTER 02 _ CHARACTER OF CYCADS
8,5 m
Table 1: The natural distribution, maximum height and cultivation conditions required for South African Cycads.
SCIENTIFIC NAME DISTRIBUTION HEIGHT DRAINAGE FROST- SUN GREENHOUSE 
HARDINESS CONDITIONS
YES/NO 
1. Stangeria eriopus Eastern Cape 2m Good Sensitive Semi Yes
2. Encephalartos ghellinckii Natal 4m Good Hardy Shade No
3. Encephalartos cycadifolius Eastern Cape 2,4m Good Hardy Full No
4. Encephalartos lanatus Transvaal 4m Good Hardy Semi Yes
5. Encephalartos humilis Eastern Transvaal 0,7m Good Hardy Full No
6. Encephalartos laevifolius Eastern Transvaal 2,5m Good Hardy Full No
7. Encephalartos friderici – guilielmi Eastern Cape 4m Good Hardy Full No
8. Encephalartos eugene – maraisii Transvaal 5,5m Good Hardy Full No
9. Encephalartos middelburgensis Transvaal 6m Good Hardy Full No
10. Encephalartos dolomiticus Transvaal 2m Good Hardy Full No
11. Encephalartos dyerianus Transvaal 5m Good Sensitive Full Yes
12. Encephalartos cupidus Transvaal 1,5m Good Hardy Full No
13. Encephalartos princeps Eastern Cape 5m Good Hardy Full No
14. Encephalartos lehmannii Eastern Cape 3m Good Hardy Full No 
Table 1: Compiled from Jones (1993), Goode (1989) and Giddy (1974)
23
CHAPTER 02 _ CHARACTER OF CYCADS
Table 1: …Continued.  The natural distribution, maximum height and cultivation conditions required for South African Cycads.
SCIENTIFIC NAME DISTRIBUTION HEIGHT DRAINAGE FROST- SUN GREENHOUSE 
HARDINESS CONDITIONS
YES/NO 
15. Encephalartos horridus Eastern Cape 2m Good Sensitive Semi Yes
16. Encephalartos trispinosus Natal 4m Good Hardy Shade Yes
17. Encephalartos arenarius Eastern Cape 2,4m Good Hardy Full Yes
18. Encephalartos latifrons Transvaal 4m Good Hardy Semi Yes
19. Encephalartos longifolius Eastern Transvaal 0,7m Good Hardy Full Yes
20. Encephalartos altensteinii Eastern Transvaal 2,5m Good Hardy Full No
21. Encephalartos natalensis Eastern Cape 4m Good Hardy Full No
22. Encephalartos lebomboensis Transvaal 5,5m Good Hardy Full No
23. Encephalartos heenanii Transvaal 6m Good Hardy Full No
24. Encephalartos transvenosus Transvaal 2m Good Hardy Full Yes
25. Encephalartos paucidentatus Transvaal 5m Good Sensitive Full Yes
26. Encephalartos ferox Transvaal 1,5m Good Hardy Full No
27. Encephalartos villosus Eastern Cape 5m Good Hardy Full Yes
28. Encephalartos cerinus Eastern Cape 3m Good Hardy Full Yes 
Table 1: Compiled from Jones (1993), Goode (1989) and Giddy (1974)
24
CHAPTER 02 _ CHARACTER OF CYCADS
Table 1: …Continued.  The natural distribution, maximum height and cultivation conditions required for South African Cycads.
SCIENTIFIC NAME DISTRIBUTION HEIGHT DRAINAGE FROST- SUN GREENHOUSE 
HARDINESS CONDITIONS
YES/NO 
29. Encephalartos ngovanus Eastern Cape 2m Sensitive Semi Yes
30. Encephalartos caffer Natal 4m Hardy Shade No
31. Encephalartos inopinus Eastern Cape 2,4m Hardy Full No
32. Encephalartos aemulans Transvaal 4m Hardy Semi Yes
33. Encephalartos hirsutus Eastern Transvaal 0,7m Hardy Full No
34. Encephalartos msinganus Eastern Transvaal 2,5m Hardy Full No
35. Encephalartos senticosus Eastern Cape 4m Hardy Full No
36. Encephalartos brevifoliolatus Transvaal 5,5m Hardy Full No
37. Encephalartos nubimontanus Transvaal 6m Hardy Full No
38. Encephalartos woodii Transvaal 2m Hardy Full No
Table 1: Compiled from Jones (1993), Goode (1989) and Giddy (1974)
25
CHAPTER 02 _ CHARACTER OF CYCADS
2.2.2 SEED PROPAGATION
Cycads are usually easy to grow, considering that their primary In accordance to hand-pollination, the following methods need to
requirements, such as unconstrained soil drainage, a reasonable be accommodated as described below.
amount of water and warmth is ensured. Most mature cycads i. Pollen Collection: When pollen shedding is initiated in the
grow optimally in full sun conditions, excluding some exceptions male cone, the cone should be cut off and placed on a
that may need protection from sun, this is the case with most smooth piece of paper. It can then be stored indoors in a
Cycad seedlings. Intense cold may be a limiting factor for the warm, dry environment, to speed up the process of shedding.
growth of most species, except for when provisions are made, like Thereafter, the pollen is either dusted onto a mature female
the construction of a conservatory (Jones, 1993:66). cone, or stored (Jones, 1993:82).
To successfully cultivate Cycads from seed, the following seed
propagation methods may be employed to increase chances of ii. Pollen Storage Pollen needs to be store under the correct
successful reproduction and germination of seeds. This section of conditions, to prevent it from deteriorating. The conditions
the chapter briefly discusses the various propagation methods entail the use of small paper envelopes that are sealed in an
commonly implemented in Cycad cultivation. The purpose of this airtight jar containing silica gel. The jars are then stored in
chapter is to formulate an understanding of various functions that liquid Nitrogen to allow the pollen to remain viable indefinitely
will be accommodated in the design project. (Jones, 1993:83).
SEED PROPAGATION I HAND POLLINATION
One of the most recent advances for Cycad grows is the method
employed to augment seed stock (Giddy, 1974:13). The
procedure is employed in the case of when a male and female
cone reaches maturity at different time intervals, or when there are
no pollinators within the area. According to Jones (1993:82), this
method entails a grower to cut off a ripe male cone and carefully
dust the pollen over the mature female cone (Figure 27).
26
CHAPTER 02 _ CHARACTER OF CYCADS
SEED PROPAGATION I SEED COLLECTION
Upon attaining maturity the female cone of a Cycad begins to
break down, allowing the seeds to fall to the ground. These seeds
are then collected for planting (Jones, 1993:83). The following
methods discussed are employed to speed up the process of
germination and will be accommodated in the phytosanitary lad,
as illustrated in chapter 4 under design development.
i. SARCOTESTA INHIBITORS: The fleshy layer of Cycad
seeds contains chemical inhibitors that defers seed
germination. The removal of this layer will consequently
increase the rate of germination (Jones, 1993:84).
ii. SEED SCARIFICATION: This method entails the cutting or
scratching of the hard outer coat to enhance seed
germination (Jones, 1993:85).
iii. SEED STRATIFICATION: This method entails the exposure
of seeds to extended periods of low temperatures of roughly
five degrees Celsius (Jones, 1993:85).
iv. PRE-SOAKING SEEDS: Some Cycad growers soak the
seeds for a couple of days before sowing. Hence, improving
the rate of germination (Jones, 1993:85).
Figure 27: The hand pollination process of cycads (Giddy, 1974:48)
27
CHAPTER 02 _ CHARACTER OF CYCADS
2.2.3 FOLKTALE I Mojadji Rain Queen 
The Modjadji’s Royal Kraal, situated in the ancient and mystical
Modjadji Cycad Forest, is where part of the big rain-making
ceremony takes place during the first weekend of October every
year (Njanja, A. 2017: online). The ritual encompasses a
celebration of respect towards the queen and the ancestors with
singing, dancing and drinking of home-brewed beer (Njanja, A.
2017: online) (Figure 29). The tradition of rain-making filtered
down into South Africa from its origins in Zimbabwe, bearing a
culture that is deeply connected to understanding and respecting
nature. The picturesque landscapes of Limpopo entail more than
pleasant sightseeing trips - the lands of Limpopo bear stories that
embody a deeper, more spiritual experience (Njanja, A. 2017:
online) (Figure 28).
Figure 28: Queen Modjadji’s palace is situated on the mountains of the 
Cycad Forest in Limpopo. (Miss Zeee, 2015: online) 
28
CHAPTER 02 _ CHARACTER OF CYCADS
Figure 29: The royal dancers entertaining visitors at the Balobedu royal ground where visitors are only allowed to enter barefoot. (Njanja, A. 2017: online) 
2.3 THE HISTORY OF A CONSERVATORY
Constituting the notion of accommodating nature, that would more commonly used as a covering material for cultivating fruit
otherwise not survive in the hostile conditions of the surrounding and vegetables (Manohar & Igathinathane, 2007:2).
context (Manohar & Igathinathane, 2007:43). The origin of a
During the 18th century, conservatories were built on an
conservatory dates back to Roman times, when Roman Emperor
enormous scale, intended to accommodate both botanical and
Tiberius required the availability of cucumbers all year round, for
non-botanical exhibitions, that would be used to entertain the
medical purposes (Shamshiri, 2006-2007:8).
aristocratic section of the population. A prime example is the
This notion further developed 1500 years later, that by the 16th design of the Victorian conservatory, located at KEW Gardens, in
century the design of a conservatory was intended for many London (Shamshiri, 2006-2007:8). After World War II, the
purposes. In Italy, a conservatory was known as “botanical protection of food crop environments was only fully established
gardens’ intended to house and exhibit exotic plants that were with the establishment of polyethylene as a cheaper alternative to
shipped in be explorers (Shamshiri, 2006-2007:8). Here the the use of glass in conservatories (Manohar & Igathinathane,
typology of a conservatory already resembles that of a gallery or a 2007:2).
museum. Other areas used bell jars or glass lanterns to protect
Today, conservatories are readily available, in the form of home
their crop against harsh climate conditions (Manohar &
construction kits. The design of conservatories constitutes endless
Igathinathane, 2007:2). French botanist, Jules Charles, is well
possibilities, ranging from geodesic domes to traditional glass
known for constructing the first practical modern conservatory to
structures. For the purpose of the dissertation, the design of a
cultivate medicinal plants (Manohar & Igathinathane, 2007:2).
Cycad conservatory is primarily determined by the physical
By the 17th century, Japan constructed the notion of a properties and climatic requirements of the Cycad species,
conservatory, by means of straw mats combined with translucent previously discussed in this chapter. This section of the chapter,
oil paper for the purpose of heating the plant environment. presents an exploration of conservatory precedents to understand
Conservatories in France and England were heated with compost how the design of a conservatory relates to its surroundings. Refer
and glass panes. It was only later in the century, that glass was to Chapter 6, for the full investigation on Conservatories, in terms
of structure and material selection.
30
CHAPTER 02 _ CHARACTER OF CYCADS
2.3.1 PRECEDENT EXPLORATION
PRECEDENT | Princess of Wales Conservatory
Location: KEW, London
Architect: Gordon Wilson
Year: 1987
Set within the historical context of KEW gardens, the design of the
Princess of Wales conservatory, further develops and challenges
the construction methods of the surrounding historical
conservatories, that were built during the 18th century. The
design’s structural composition employs advance climate control Figure 30: The Eden Biomes in context (Avis-Riordan, 2019: online)
systems to accommodate 10 individual climatic zones (Avis-
Riordan, 2019: online) (Figure 32).
The Conservatory was constructed on the site of the T-Range and
25 other dilapidated glasshouses (Avis-Riordan, 2019: online).
Designed not only for the intention of referencing the historical
landscape, but also to convey an architectural statement of power
Figure 31: Sketch of the conservatory’s entrance façade.
and significance (Figure 30 & 31). Consequently, following in the HIERARCHY
footsteps of its surrounding predecessors (Avis-Riordan, 2019:
ASYMMETRY
online). The differentiating factor that sets the Princess of Wales
Conservatory aside from the other large greenhouses at Kew is ENTRANCEAXIS
the internal approach in which the plants, and not the architecture,
governs the space, thus signifying the conservation values of Kew
constituted in the later half of the 20th century (Avis-Riordan,
2019: online). Figure 32: Sketch of design principles on plan
31
CHAPTER 02 _ CHARACTER OF CYCADS
PRECEDENT | Siu Siu Laboratory of Primitive Senses
Location: Taipei, Taiwan
Architect: Divooe Zein
Year: 2014
Originating from a belief that humans have detached themselves
from nature. The design of the Siu Siu Laboratory of Primative
Senses, intends to provide a spatial experience where humans
can systematically transition from an urban environment to a
primitive surrounding, that encourages a healing process Figure 33: Permeability in design (ArchDaily, 2014: online). 
(ArchDaily, 2014: online) (Figure 33).
Set within a natural liminal space (Figure 35), the design of the
conservatory is completely open-ended on both sided and
employs the covering of a permeable membrane to allow for a
transitional space, where humans can unconditionally expose
Figure 34: Sketch of accommodation in section 
themselves to nature, and nature can effortlessly inhabit the
human-made structure (Mairs,2015: online). Furthermore, it
establishes the functions of a meditation space, a gallery and
workshops (Figure 34), intended to provide the feelings, “here and
now”. According to the architect, Divooe Zein, the design aims to
embody an experience that imposes the feeling of - “Unpractical,
ephemeral, completely incapable of coping with everyday needs,
these instinctive feelings are in fact a power of healing developed
by contemporary man towards certain natural relationship. It will
go on, in a manner proper to primates, to the unknown”
(ArchDaily, 2014: online) (Refer to Chapter 6, for full analysis). Figure 35: The conservatory in context. 
32
CHAPTER 02 _ CHARACTER OF CYCADS
PRECEDENT | The Eden Project
Location: Cornwall, UK
Architect: Nicholas Grimshaw 
Year: 2011
The Eden Project, stems from an exploration in notion of
sustainability in both design and construction. It intends to
promote an ethical understanding in the relationship between
humans, nature and resources. The design focus was to develop
something new, that would function as a tourist attraction,
Figure 36: The Eden Biomes in context (Grimshaw: online)
research and education platform for future generations
(Bissegger, 2006: online). Therefore, the design consists of eight
enormous, yet lightweight geodesic biomes, that intends to serve
as the world’s largest plant enclosure, for humid tropics and warm
temperate regions (Stevens, 2016: online) (Figure 37).
According to Bisseger (2006: online) “Grimshaw’s solution to this
challenge was to look at nature. He got his inspiration from
looking at the honeycomb of bees and even the multifaceted eyes
of a fly. These creatures used their surroundings most effectively
to create a very strong, yet light-weight solution.” The shape of
the design allows for minimal impact on the setting of the
abandoned quarry (Figure 36). The morphology of the design also
allows for a better strategy in heat conservation, providing the
ideal climatic conditions for the humid – tropics biome (Grimshaw,
Figure 37: Sketch of section to plan development generated from 
[n.d]: online).
(Grimshaw: online)
33
CHAPTER 02 _ CHARACTER OF CYCADS
2.4  TOUCHSTONE I Towards a View of the Future
The touchstone for this project acts as a physical exploration of
the relationship between humans and nature, by means of
exploring the notion of narrativity, as a possible conservation
strategy (Figure 38).
The essence of the project stems from an understanding of
endangered plants species, in which man, and nature play a vital
roles in the endangerment of plants. The essence of the project is
explored with the idea of a pendulum’s movement as a symbolical
portrayal of the instability in plant status. This notion is employed,
because the initial movement of a pendulum is either introduced
through man’s reactions or a natural intervention, such as wind.
Furthermore, the touchstone expresses the notion of narrativity,
where the narrative composition of meaningful placemaking acts
as a physical manifestation, that aids in the development of a
sympathetic relationship between humans and nature. Thus
providing a conservation strategy in the form of understanding and
being consciously aware of our natural surroundings.
This notion is conveyed, by tying each weight with several strings,
in order to depict how relationship between architecture and
nature can act as a conservation tool in stabilizing the status of
endangered plant species or stabilizing the movement of each
pendulum (Figure 39).
Figure 38: Concept sketches portraying the relationship between man and nature. 
34
CHAPTER 02 _ CHARACTER OF CYCADS
Figure 39: Touchstone model
35
CHAPTER 02 _ CHARACTER OF CYCADS

3.1 IN REALTION TO THE LANDSCAPE
3.2 SITE SELECTION CRITERIA
3.2.1 Site selection investigation
3.3 MAPPING THE CHARACTER
3.3.1 South Africa’s landscape diversity
3.3.2 A cognitive connection to the site
3.3.3 The physical characteristics of the site
3.4 PRECEDENT EXPLORATION
3.5 CONCEPT EXPLORATION 
CHAPTER 03 _ CHARACTER OF 
THE FREE STATE LANDSCAPE
3.1 IN RELATION TO THE LANDSCAPE
The process of understanding a site starts by acknowledging that In response to the previous chapter - discussing the character
there is an acquisitive connection between an object and its narrative of South African Cycads, this chapter starts with an
surroundings (Figure 40). An object formulates meaning from its outline of the key site conditions required to successfully
context and as the context changes, so does the meaning of the accommodate the selected Cycad species. Followed by a section
object. (Mahdavinejad, Shahrigharahkoshan & Ghasempourabadi, that identifies and investigates three possible site locations, in
2012: 1001) Mario Botta explains this relationship by stating that: terms of a SWOT analysis, to determine a suitable site for the
“the relationship between architecture and site is mutual design of a Cycad conservatory. The chapter then continues with
influences and remain constantly.” (Mahdavinejad, a series of explorations on the selected site - Glen Lyon farm,
Shahrigharahkoshan & Ghasempourabadi, 2012: 1001) situated north of Bloemfontein. For the purpose of formulating a
concise comprehension of the site’s character, the chapter further
The focus of this chapter serves as an exploration of the physical
discusses relevant precedents, to assist in concluding with three
and conceptual site peripheries, that can be considered as
concepts, as possible design generators.
potential design influencers. The research aims to convey an
understanding of the site’s character within its macro context, its
immediate surroundings as well as factors concerning the site
itself.
Figure 40: Concept sketch of a being in relation to the landscape
38
CHAPTER 03 _ THE FREE STATE LANDSCAPE
3.2 SITE SELECTION CRITERIA 
LOCATION
• The facility must be situated in a central location (Figure 41).
• It must be situated within a natural setting that is protected from
the winter climate.
• It should be located in an area that is able to provide security
from illegal cycad collectors.
• The facility should be located in an area where existing
vegetation that is not endangered.
• It requires a northern orientation and good drainage (Figure 42)
SERVICES
• The facility should be in close proximity to existing
infrastructure, such as main road/ airport.
• Requires access to loading areas and deliveries for
maintenance and service.
Figure 41: Map indicating Cycad distribution in South Africa and proposed 
location area for the project generated from (Donaldson, 2003:9) 
PUBLIC
• The public should be able to access the facility
• The architecture should be semi - visible to encourage citizens
to visit the facility.
Figure 42: Sketch of site slope, providing frost protection, and natural 
water drainage.  
39
CHAPTER 03 _ THE FREE STATE LANDSCAPE
3.2.1 SITE SELECTION INVESTIGATION 01 BOTANICAL GARDENS (Figures 43 – 47)
The existing natural surroundings formed the basis of a possible • Located in a protected natural environment
location for the proposed designed facilities. It is argued that the • South Western Orientation
existing surroundings should be respected and taken into • Site option A is only protected from the cold on one side
consideration. The following three possible sites were identified (North), whereas site option B is protected from three side
for the intervention and a SWOT analysis was compiled for each (North, east and west)
site. • Situated near water
• Both site option provide poor solar radiation
OPTION B
Figure 43: View towards South direction. View through Botanical Garden 
with Rayton water reservoir and Naval Hill visible on the horizon. 
OPTION A
Figure 44: View towards East direction. View of Botanical ravine with Figure 45: Analysis of possible site at the Botanical Gardens, Bloemfontein
ridge in the distance. 
40
CHAPTER 03 _ THE FREE STATE LANDSCAPE
Figure 46: View of site option A
Figure 47: View of site option B
41
CHAPTER 03 _ THE FREE STATE LANDSCAPE
02 HANGMANSKLOOF, NAVAL HILL (Figure 48 – 51)
• Located in a protected natural environment
• Northern - Western Orientation
• Protected from the cold from two sides
• Located within the city
• Situated near water
• Good solar Radiation
Figure 48: View towards North-West direction, from the bottom of 
Hangmanskloof. 
Figure 49: View towards North – West direction overlooking Rayton/ 
Hewelsig water reservoir in the distance. Figure 50: Analysis of Hangmankloof within its surrounding context.
42
CHAPTER 03 _ THE FREE STATE LANDSCAPE
Figure 51: View from site, with urban context in the distance. 
43
CHAPTER 03 _ THE FREE STATE LANDSCAPE
03 GLEN LYON FARM (Figures 52 – 55)
• Northern Orientation
• Protected from the cold with surrounding hills
• Located between cities
• Situated near water and main road
• Good solar Radiation
PROPOSED SITE
Figure 52: View towards the South-East direction, overlooking the N1 road in 
the distance. 
Figure 53: View of proposed site, sketched from the dam wall. Figure 54: Analysis of possible site at the Botanical Gardens, Bloemfontein
44
CHAPTER 03 _ THE FREE STATE LANDSCAPE
Figure 55: View of north facing hill 
45
CHAPTER 03 _ THE FREE STATE LANDSCAPE
3.3 MAPPING A LANDSCAPE CHARACTER 
In light of attempting to understand the site within its surrounding SITE LOCALITY 
context, mapping forms part of a component that enables a The site is located about 11 km North - West of Bloemfontein and
design tool where layered information highlights the hidden 35 km South – East of Brandfort in Mangaung Metropolitan
potential of the site. According to James Corner, in his essay on Municipality, Free State Province. The site is situated next to the
the Agency of Mapping (Kaprielian, [n.d.]: 2) “Mapping is perhaps N1 highway in a low-lying area at an elevation of 1360 m above
the most formative and creative act of any design process, first sea level surrounded by numerous hills. (Figure 56 & 57)
disclosing and then staging the conditions for the emergence of
new realities.” Therefore, this section of the chapter serves as
part of the design process, that aims to comprehend the
conceptual and physical characteristics of the site in order to
imagine the Free State landscape in new and unexpected ways.
The process of mapping and exploring the site within its
surrounding context, this section of the chapter start with an
overview of South Africa’s diversity in landscape regions. It then
continues to discuss and exemplify a personal understanding of
the site’s character, in the form of conceptual sketches.
Thereafter, this section presents an exploration of the physical
characteristics of the site. (Refer to chapter 6, for full site
investigation)
Figure 56: Analysis of possible site at the Botanical Gardens, Bloemfontein
46
CHAPTER 03 _ THE FREE STATE LANDSCAPE
Figure 57: Locality of proposed site, indicated by red dot. 
47
CHAPTER 03 _ THE FREE STATE LANDSCAPE
3.3.1 SOUTH AFRICAN’S LANDSCAPE DIVERSITY
In the broad context of the site, South Africa has been recognised THICKET SUCCULENT KAROO
as a country with an underlying richness in both culture and
COASTAL BELT FYNBOS
vegetation of vast diversity. (Rutherford, Mucina & Powrie, 2012:
1) The general environmental perception of this country can be NAMA - KAROO GRASSLAND
described as a relatively dry landscape, with vegetation that
SAVANNAH DESERT
flourishes in a low mean annual rainfall. (Grundy & Wynberg,
2001: 1) According to Rutherford and Westfall (1986: 14) South FORESTS
Africa harbours seven biomes, namely: Grassland; Savannah;
Succulent Karoo; Nama – Karoo; Forest; Fynbos and Thicket. The
majority of the area consists of a dry savanna woodland, with
patches of forest communities reaching more than 5m in height
(Grundy & Wynberg, 2001: 1) (Figure 58 & 59).
Poet and writer, Antjie Krog, describes the South African
landscape as, “a landscape of paradise…where the Free State
lies amongst the sweepings of grass and stone and windswept
sky.” (Viljoen, [n.d.]: 7) It is important to understand the broad
contextual landscape in terms of plant diversity, as this
dissertation proposes to accommodate cycads as well as other
forms of plant species from various biomes within South African.
Figure 58: South African Biomes (Mucina & Rutherford, 2006: 33)
48
CHAPTER 03 _ THE FREE STATE LANDSCAPE
SUCCULENT KAROO BIOME
GRASSLAND BIOME SAVANNAH BIOME
FYNBOS BIOME
NAMA KAROO BIOME THICKET BIOME FOREST BIOME
Figure 59: South African Biomes (Quintin, 2019: online)
49
CHAPTER 03 _ THE FREE STATE LANDSCAPE
3.3.2 A COGNITIVE CONNECTION TO THE SITE
Consequent, to the first site visit, a series of sketches were
produced to explore a personal understanding of the site’s
character. It presents a reflection of my initial memories of the site
and the experiences of dwelling within its natural setting. The
Figure 61: The sun’s interaction 
setting of Glen Lyon farm, was conceived as a haven isolated with the landscape
from the surrounding cultural interventions, such as the N1 route,
agricultural practices and urban developments (Figure 60) The
site resonates an untamed identity, rich in various dimensions of
plant life (Figure 62). .
Figure 60: The site hidden, when 
viewed from the N1 Road
The memory of the sun’s interaction with the landscape, and the
traces of human interaction inscribed in the form of informal
roads, formulated an understood of the site as a collective domain
of individual bodies that is essentially open to history,
transformation and an imagined future (Figure 61).
50
CHAPTER 03 _ THE FREE STATE LANDSCAPE
Figure 62: The various dimensions of plant 
life present on site. 
51
CHAPTER 03 _ THE FREE STATE LANDSCAPE
3.3.3 THE PHYSICAL CHARACTERISTICS OF THE SITE
Situated on the northern embankment of the hill,
highlighting the surrounding views and natural
embodiment of the site (Figure 63)
VIEW OF SITE
Figure 63: Site Photo
72
THE SITE 
73
REGIONAL CONTEXT BRANDFORT
While the Free State of South Africa is one of
the centrally located provinces in South Africa,
it is also relatively sparsely populated.
As mentioned earlier, the focus area is
situated on the northern mountain slope at
Glen Lyon farm 12 km north-west of
Bloemfontein. Of relevance to this intervention
is the Ni road overlooking the site, as one SITE
drives by. Therefore, the positioning of the site
acts both as a public awareness node, and a
protected nature ravine (Figure 64).
N1
BLOEMFONTEIN
Figure 64: Google maps aerial view of site (Google Earth: 28* 58’ 35.94” S 26*16’46.99” E)
NORTH FACING SLOPE
The proposed design is placed on a north facing slope 1370m
above sea level, to obtain maximum sunlight and drainage for
the accommodated cycads (Figure 65 & 66). The design acts
as a node between the main entrance and the service entrance
to the site, activating the typical Free State landscape, by
cautiously locating the public areas on top of the slope and the
private areas as the foot of the hill.
Figure 65: 3D Model of North facing slope.
55
CHAPTER 03 _ THE FREE STATE LANDSCAPE
Figure 66: View of the slope 
76
TOPOGRAPHY ANALYSIS
The identified site, with an approximate developed area of 19 000
sqm, rises almost 20m over a distance of 34m, this incline (0,2:
0,34) is used in the design proposal and parts of the building are
sunken into the existing slope (Figure 67).
Proposed site Figure 67: Site sections: A,B and C.
Section AA
Vegetation
Section BB
Natural man- N1 Road
made barrier
Section CC
57
CHAPTER 03 _ THE FREE STATE LANDSCAPE
C
B
A
ELEMENTS ON SITE
01 PHYSICAL 02 PATHWAYS 03 EDGES 04 CHARACTER
Shrubs and Grass
Rocks form natural edges
Presence of water
N1 Road passing site Existing informal road
Dolomite Hill
58
CHAPTER 03 _ THE FREE STATE LANDSCAPE
Informal Road
Slope
Plateau 
Stream
59
CHAPTER 03 _ THE FREE STATE LANDSCAPE
SUN STUDY
DAM WALL LINE
Figure 68: View of site from the N1 road
80
OPPORTUNITIES AND CONSTRAINTS
Constraints
• Site is isolated from any major city
• Site is located on a northern slope of the hill (Figure 69).
• Cold interior climatic region
• Site is surrounded by hills, causing little visual connection from
the N1 road (Figure 68).
Opportunities
• Site is situated in a central location, between cities ENTRANCE
• Site is located in a natural landscape
PROPOSED SITE
• Exploration in creating an environmentally awareness facility
for public visitors. EXIT
• Explore design solutions for climatic response
CHALLENGES TO BE ADDRESSED IN DESIGN PROPOSAL:
• Investigate indigenous building materials to incorporate in
building construction.
• Address the north facing slope of the hill with appropriate
design methods to integrate the architecture into the landform
of the slope.
• Design the building to contextually fit into its surroundings
• Design a built environment suited for cold interior climatic
conditions.
Figure 69: Map indicating nodes of entrance and exit
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CHAPTER 03 _ THE FREE STATE LANDSCAPE
3.4 PRECEDENT EXPLORATION
The following precedents are explored to further develop an
understanding of the relationship between humans and nature.
PRECEDENT | The Gods must be Crazy
THE LANDSCAPE INTRODUCTION OF
In the movie, ‘The Gods must be Crazy’, an narrative outline is
THE UNFAMILIAR
presented to narrate the relationship between the Koi San Culture
and the natural settings of the Kalahari dessert. Here four
interpretations were derived, firstly, the landscape, providing for
the humans that dwell within it. Secondly, the introduction of the
unfamiliar, establishing a heightened sense of awareness. Thirdly,
human’s connection with the earth, learning and surviving from it’s
natural provisions, and lastly, traces of human intervention,
inscribing a narrative onto the landscape (Figure 70). CONNECTION WITH THE EARTH INTERVENTIONS
AS NARRATIONS
Figure 70: The four interpretations established from the movie.
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CHAPTER 03 _ THE FREE STATE LANDSCAPE
PRECEDENT | Antjie Krog Poem ANTJIE KROG_ COUNTRY OF MY SKULL (1998)
Antjie Krog describes the Free State landscape as a sacred The next morning on my way to town, I take a detour through the
ground that embodies all the stories of the people that have countryside.
As far as the eye can reach there is rooigras,
once embarked on it. She starts off by reflecting on herself I stop. I once wrote: “I adore, Themedra Triandra the way other
within the landscape, by stating, “This is my landscape. The people adore God.”
I want to lie down.
marrow of my bones.” and then continues to add character to I want to embrace.
the landscape itself, by giving it a spiritual quality, as if our I want to sing the shiny silk stems upwards.
I want to ride the rust – brown seeds, the rustling forest – white
ancestors speak through the medium of the land that was once growth around ankles. Grass, red grass bareback against the
lived (Figure 71). flanks.
This is my landscape.
The marrow of my bones.
The plains.
The sweeping veld.
The honey – blond sandstone stone.
This I love.
This is what I’m made of.
And so I remain in the unexpectable wondrous ambuscade of
grass and light, cloud and warm stone.
As I stand half – immersed in the grass cracking with grasshoppers
and sand, the voices from the town hall come drifting on the first
winds blowing from the Malutis – the voices, all the voices of the
land.
The land belongs to the voices of those who live in it. My own
bleek voice among them.
The Free State landscape lies at the feet at last of the stories of
saffron and amber, angel hair and barbs, dew and hay and hurt.
Figure 71: Analysis of the poem.
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CHAPTER 03 _ THE FREE STATE LANDSCAPE
3.5 CONCEPT EXPLORATION
01_ AUGMENTING THE LANDSCAPE
Augmenting the landscape explores the idea of nature adapting to
architecture, in which an investigation was conducted on the ideas
of the first, second and third landscapes. The chosen site, Glen
Lyon farm situated north of Bloemfontein, is a typical first
landscape, as the proposed facility is located in an area that is
mostly untouched and conveys a wild natural vegetation growth.
Therefore, the concept investigates the idea of the third landscape
as a consequence to the architectural intervention within the sites
landscape. Hence, the third landscape in this case refers to the
idea of interrupting or distorting the existing landscape, and then
allowing the landscape to re – establish itself within the
interrupting factor (Figures 72 – 75).
Figure 72: Interpretation of concept in a landscape context. Figure 73: Explorative sketches of the concept.
64
CHAPTER 03 _ THE FREE STATE LANDSCAPE
Figure 74: Mapping the first and second landscape. Figure 75: Concept model
65
CHAPTER 03 _ THE FREE STATE LANDSCAPE
02 _ FROM A HETEROTOPIA TO THRESHOLDS IN SPACE
The idea of a heterotopia refers to the project intervention that is
proposed between cities and next to the N1 in the realm of
Bloemfontein’s classical landscape, with these juxtaposing
elements in mind, this concept explores the idea of thresholds
within the existing landscape, together with the experience of
various spaces throughout the project, by way of highlighting the
different heterotopias but at the same time reminding the user of
the journey from one place to another.
The proposed site already highlights various thresholds in both
vegetation and man – made structures as one travel’s through the
site, therefore this concept explores the architecture as becoming
a continuation of the existing thresholds (Figures 76 – 79).
Figure 76: Concept interpretation in context. Figure 77: Concept exploration.
66
CHAPTER 03 _ THE FREE STATE LANDSCAPE
Figure 78: Mapping the existing thresholds. Figure 79: Concept Model.
67
CHAPTER 03 _ THE FREE STATE LANDSCAPE
03 _THE MECHANICS OF EVOLUTION
Mechanics of evolution refers to the continuing change in the
landscape’s vegetation and climate over time. There is a dynamic
essence in natures growth, the transfer of vegetation through seed
migration as well as the change in a plant’s needs as the climate
changes.
Therefore, this concept explores the idea of architecture forming a
dynamic relationship with the natural realm, by means of
adaptation to nature’s change (Figures 80 – 83).
Figure 80: Interpretation of the concept in context. Figure 81: Exploration sketches of the concept.
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CHAPTER 03 _ THE FREE STATE LANDSCAPE
Figure 82: Mapping the dynamic character of the site. Figure 83: Concept Model
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CHAPTER 03 _ THE FREE STATE LANDSCAPE

4.1 NARRATIVITY IN ARCHITECTURE
4.1 ARCHITECTURE AS MEDIATOR
4.2 PRECEDENTS
4.2 PRECEDENTS EXPLORATION
4.3 CONCEPT 
4.3 DESIGN DEVELOPMENT
4.3.1 Iteration 1 
4.3.2 Iteration 2
4.3.3 Iteration 3
4.3.4 Iteration 4
4.3.5 Iteration 5
4.5 TOWARDS AN DESIGN NARRATIVE 
CHAPTER 04_EMPLOTMENT
4.1 ARCHITECTURE AS MEDIATOR
This chapter looks at the physical and ontological dynamics of a
modern – day pilgrimage. The word “pilgrim” dates back to the Late
Latin peregrinus – referring to “one who journeys in foreign land”
(Merriam Webster, 2019: online). In the traditional sense the term
pilgrimage, highlights the destination as the focal point in the
definition: “journey to a holy place”. However, many modern – day
pilgrims regard the journey as the holy destination in itself (Donato,
J. P. 2015: 74). According to Janice Donato, in her essay: The
pilgrimage and the stranger (2015: 80) : “The potential power and
meaningfulness of pilgrimage emerge from a willingness to endure
foreignness in both self and other; to set aside one’s constructed
and comfortable identities and normative experiences of the world
and to open oneself to an unsettling world of new possibilities and
new identities.” This notion exemplifies a deeper understanding of
the relationship between humans and their surrounding context.
The proposed facility seeks to narrate an interpretation of folktales
between the foreign landscape (cycads) and the familiar landscape
(Free State) as a way of developing a relationship of understanding
and sympathy between the users of the facility and the natural
realm. The architecture engages with the earth and the sky in
various ways, bringing elements of nature to the foreground. The
relationship between these two characters creates a unique
environment for the proposed buildings, where the vertical plane
interacts with the horizontal one.
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CHAPTER 04 _ EMPLOTMENT
4.2 PRECEDENT EXPLORATIONS
Figure 86: Sketch of path towards nest.
PRECEDENT | Movement of a spider-wasp
The day – to – day behaviour of a spider wasp is a fascinating
wonder within the large realms of nature. The understanding of it,
inspired the possibility for the public to circulate in a similar way
through the conservation centre.
The spider wasp is an insect that is known for paralyzing its prey
and then storing it in its nest, for the larvae to feed on. But what’s
fascinating is the way in which this kind of wasp circulates in the
natural realm, in order to achieve this goal. In search of spiders,
the wasp moves away from the nest in an organic manner, but
when it returns to the nest, the wasp will move its prey in a
perfectly straight line, no matter what obstacle may be in its way
(Figure 84 – 86).
Figure 84: Sketch of path away from nest. Figure 85: The spider-wasp catching its prey 
(Encyclopaedia Britannica, 2018: online) 
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CHAPTER 04 _ EMPLOTMENT
PRECEDENT | Botanical garden in Nerja
Location: Spain
Architect: ISMO Arquitectura
Year: 2015
The Botanical Garden is based on the principle of making the
place natural. So, it stands according to simple schemes of
distribution and vegetation cultivation. Although it’s just a part of
Nature, it also becomes a representation of the native plant
species of the province (ArchDaily, 2016: online). The garden
Figure 87: The path along the typology of the land (ArchDaily, 2016: online)
must dialogue with the environment and develop the continuity
with the landscape. A guide, a gardener and a biologist will be the
staff (ArchDaily, 2016: online) (Figures 87 & 88).
The paths, according to the level lines of the land to be used by
handicapped people, will display different layer with different kinds
of plants, so that the Garden will be green covered. These
unpaved paths will be also in lower or higher levels, according to
the needs of the program (ArchDaily, 2016: online). The elevation
is useful for a stage area, a shady place for people to join and
observe. The buildings rise over the landscape, being folded to
create covered viewpoints (ArchDaily, 2016: online) (Figures 89 –
92).
Figure 88: Concept sketches of framing place
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CHAPTER 04 _ EMPLOTMENT
Figure 89: External façade of the building (ArchDaily, 2016: online) Figure 90: Sketch of ground floor plan 
Figure 91: View of ramps (ArchDaily, 2016: online) Figure 92: Sketch of First floor plan
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CHAPTER 04 _ EMPLOTMENT
PRECEDENT | Freedom Park, Phase 1
Location: Pretoria, South Africa
Architect: GAPP + Mashabane Rose Architects + MMA
Year: 2008
Set on a prominent hill, overlooking Tshwane, the architectural and
landscape interventions of Freedom Park, serves to highlight
indigenous knowledge as a means to celebrate the leading narratives of
humanity and freedom (ArchDaily, 2012: online). According to ArchDaily
(2012, online), “Its mission is ‘to provide a pioneering and empowering
heritage destination that challenges visitors to reflect upon our past,
improve our present and build on our future as a united nation.’”
Curated by a spiral pathway, visitors follow a narrative journey that
connects events such as the ‘Place of Remembrance’ featuring the ‘wall
of names’, to the sanctuary and the main gathering space (ArchDaily,
2012: online). A string of events designed to commemorate African
spirituality in an ongoing journey that celebrates the ancestral freedom
fighters (ArchDaily, 2012: online) (Figure 93-95). Figure 93: Sections sketched from (ArchDaily, 2012: online)
76 Figure 94: Memorial labyrinth (ArchDaily, 2012: online)
CHAPTER 04 _ EMPLOTMENT
SANCTUARY
JOURNEY GALLERY OF LEADERS REFLECTIVE POND
WALL OF NAMES WALK 
Figure 95: Analysis of Plan 
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CHAPTER 04 _ EMPLOTMENT
PRECEDENT | Saya Park
Location: South Korea
Architect: Alvaro Siza & Carlos Castenheira
Year: 2018
The art pavilion, embedded in the slope of a woodland forest
south of Korea, embodies the notion of adaptation to both the site
and the beauty of the project (ArchDaily, 2018: online) (Figure 96).
The site’s existing characteristics, such as the forest pathway
makes its way through the building’s elegant sculptural form,
allowing visitors to embark on a journey of internal and external
reflection (Mac, 2019: online) (Figure 98).
This dissertation project was particularly inspired by the projects
interplay of light and shade to highlight the elements of time in
what was before and what is beyond the high concrete walls
(ArchDaily, 2018: online) (Figure 99). Accommodating a series of
gallery exhibition spaces, visitors experience a cave-like concrete
sculpture, that entails two narrow sections, connected by a double
volume tunnel that allows for selective glimpses to the
surrounding natural infinity (Mac, 2019: online) (Figure 97).
Figure 96: The project in context (Vada, 2018: online)
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CHAPTER 04 _ EMPLOTMENT
Figure 97: Analysis of plan
Figure 98: Sketch of section Figure 99: Interior of circulation route (Vada, 2018: online)
79
CHAPTER 04 _ EMPLOTMENT
4.3 DESIGN DEVELOPMENT 
ITERATION 2
In the process of developing the building ITERATION 1
composition, various forms and the
. .
composition thereof was investigated to
formulate an appropriate narrative
experience between visitors and the two
landscape characters, that is both
informative and functional.
Both the public and private functions
required separate routes, with occasional
nodes of visual and physical intersection.
ORIENTATION INITIAL MASSING
The accommodation list needs to Integrating the existing circulation routes
meet the requirements and as the datum, the initial massing is split into
behavioural processes of the Cycad separate components, each with it’s own
species. function
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CHAPTER 04 _ EMPLOTMENT
ITERATION 3 ITERATION 4 ITERATION 5
. . .
BUILDING INTEGRATION FRAMING VIEWS THE JOURNEY
The project is integrated within the The spatial composition of the project The circulation throughout the centre
distribution of movement, the surrounding is purposefully placed to frame the highlights the site’s contours, that
landscape in terms of material use and surrounding vistas of the opposite hill. would otherwise not be visible to the
geographical elements such as water dweller on site.
and the vegetation.
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CHAPTER 04 _ EMPLOTMENT
ITERATION 1 I ORIENTATION
The first phase of the design process stems from the
understanding of Cycads, in terms of their cultivation needs and
physical properties, as discussed in Chapter 2 of this dissertation.
This understanding assisted in formulating an accommodation list,
which was then placed in the context of the site, in order to
determine the physical area of the site the will be utilised.
5m 15m 50m
10m 25m 100m
Figure 101: Concept model of accommodation list in context.
5m 15m 50m
10m 25m 100m
Figure 100: Initial composition of accommodation list. Figure 102: Initial plan integrated with existing route on site.
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CHAPTER 04 _ EMPLOTMENT
ITERATION 2 I INITIAL MASSING
The proposed conservation centre activates the natural
surroundings of Glen Lyon Farm, and benefits from the ongoing
vehicle traffic on the N1, to bring about awareness to South
Africa’s biodiversity. Located against the northern slope of a
typical Free State hill, the site provides sufficient conditions for the
growth of cycad species within conservatories. The foreseen
facility acts as a node, connecting both the main entrance and the
service entrance.
Figure 103: Conceptual section and elevation in context.
5m 15m 50m
Figure 104: Plan integrated with existing route and rainwater flow.
10m 25m 100m
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CHAPTER 04 _ EMPLOTMENT
ITERATION 3 I BUILDING INTEGRATION
Here a layout and morphology started to develop from the
understanding of the folktales investigated in chapter 2 and 3. Site
elements, such as the existing water stream and dam wall,
initiated the ordering of functions within the design.
WATER COLLECTION
The proposed building harvests rain and stormwater, running
down from the site’s slope, to re – use for the watering of the
cycads. Excess water will be distributed back into the existing
water stream on site.
Figure 105: Conceptual sections of building in relation to the slope. Figure 106: Plan development integrating existing water steam .
84
CHAPTER 04 _ EMPLOTMENT
Figure 107: FLOOR PLAN
5.
3.
5.
PRIVATE 
ENTRANCE 2.
1.
6. 4.
1. LABORATORY
2. OFFICES
3. RESTAURANT PUBLIC 
ENTRANCE
4. NURSERY/ RECEPTION
5. CONSERVATORY
6. OUTSIDE CYCAD EXHIBITION
Figure 108: Concept Model of Third Iteration.
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CHAPTER 04 _ EMPLOTMENT
MATERIAL PALETTE & EXPLORATION CONCRETE
In order to understand how materials or layers affect a
space. This exploration summaries the natural and raw
quality of materials within a natural setting. The
investigation aims at an understanding of the relationship
between nature and the material.
STONE
1. Art Pavilion in South Korea (Puluuso, S. 2018: online)
2. Fortress and Banks of Goian (Picard, P. G. 2014: online)
3. Gabion retaining walls in Landscape Architecture (Souza, E.
2018: online)
4. Sancaklar Mosque in Istanbul (Emden, C. 2015: online)
5. Third wave kiosk in Torquay (Hayward-Melbourne, A. 2016:
online) WEATHERING STEEL
6. Ferreteria O’ Higgins in Chile (Hayward-Melbourne, A. 2016:
online)
7. Bihar Museum in India (Maki, F. 2017: online)
8. Low lying home at Nova Scotia coastline (Mckniight, J. 2017:
online)
9. Kiasma Museum of Contemporary Art. (Santos, S. 2016:
online) SOFT SURFACES
10. Campo Baeza’s House in Cadlz (Zajonc, A. 2006: online)
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CHAPTER 04 _ EMPLOTMENT
CONCRETE
1 2
STONE
3 4
WEATHERING 
STEEL
5 6 7
SOFT 
SURFACES
8 9 10
87
CHAPTER 04 _ EMPLOTMENT
ITERATION 4 I FRAMING VIEWS
At this stage of design, the building was integrated to frame the
vistas of the surrounding context. Furthermore, consideration for
circulation routes as a narrative guider was initiated.
It is argued that humans build a sympathetic relationship with their
experiences and surroundings through the use of narratives.
(Jeffway, N. 2017: 4) By differentiating between the familiar Free
State landscape and the unfamiliar cycad species, the spatial
quality and ordering allows the architecture to articulate and sculpt
the earth to bring about a narrative quality. The form of the
building takes inspiration from the surrounding natural
environment, such as the natural contour lines, together with the
surrounding views.
Figure 109: Sectional exploration. Figure 110: Conceptual plans considering narrative experience in circulation.
88
CHAPTER 04 _ EMPLOTMENT
Figure 111: Surrounding views highlighted.
RESTAURANT
CONSERVATORY
OUTSIDE CYCAD NURSERY/ 
EXHIBITION RECEPTION
PRIVATE LABORATORY
ENTRANCE
PUBLIC 
ENTRANCE
Figure 112: FLOOR PLAN
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CHAPTER 04 _ EMPLOTMENT
ITERATION 5 I THE JOURNEY
Using substantial walkways that are up to 3m wide, the design is
able to accommodate public pause spaces, that is strategically
located along the public route, to ensure for visual curation of both
the familiar and unfamiliar landscape, as well as the private
functioning systems and the workings thereof.
• The public route acts as a journey that stimulates curiosity, and
narrates the landscape as characters in themselves.
• The private route runs parallel to the public route, allowing for
visual connection between the public and private. This also Figure 113: Concept plan of building following the site’s typology.
allows the research facilities and labourers to function without
any unnecessary distractions.
Figure 114: Sections exploring circulation through context
Figure :1 T1h5i:r dT hCiordn cCeopnt cMeopdt Melodel
90
CHAPTER 04 _ EMPLOTMENT
Figure 116: FLOOR PLAN
2.
1. 7. 7. 7.
PRIVATE ROUTE
6. 1. 1. 1.
6.
3. 5. 5. 5.
PUBLIC ROUTE
4.
8. PRIVATE 
ENTRANCE
1. LABORATORY
2. OFFICES
PUBLIC 
3. RESTAURANT ENTRANCE
4. NURSERY/ RECEPTION
5. CONSERVATORY
6. OUTSIDE CYCAD EXHIBITION
7. CYCAD PROPAGATION AREAS
8. CYCAD MEMORIAL GARDEN
91
CHAPTER 04 _ EMPLOTMENT
Figure 117: Façade of conservatories Figure 118: Perspective of project from entrance dam
Figure 119: Fourth Concept Model
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CHAPTER 04 _ EMPLOTMENT
NEW VEGETATION
Introducing new vegetation within the conservatories, as well as
around the architecture, acting as natural exhibition spaces. The
northern façade is designed as an extended or deep skin to
mediate solar radiation. The design, should take into account the
amount of natural sunlight needed for cycads during summer and
winter periods, for optimum growth.
Figure 120: Massing of foreseen facility 
Cycad Conservatory
Existing Site Vegetation
Figure 121: Section indication new vegetation and Existing vegetation.
Scale: 1:200
93
CHAPTER 04 _ EMPLOTMENT

5.1 THE NARATIVE I Between the Earth and the sky.
5.2 DESIGN SYNTHESIS
5.2.1 Site Plan
5.2.2 Accommodation List
5.2.3 First Level
5.2.4 Second Level
5.2.5 Third Level
5.2.6 Public vs. Private
5.2.7 Structural Response
5.3 REFLECTION 
CHAPTER 05_THE NARRATIVE 
5.1 THE NARRATIVE I Between the Earth and the Sky.
Here in the lingering presence amongst the sweeping velds of I then carefully put my shoes back on and continue to follow the
the Free state, where the hills cast shadows long after the journey into the cycad conservatories. The winding path through
searing sun has melted into the horizon. Here, the stories of the forest, unconsciously allows for an experience of dance
many breeze the Themedra Triandra and oxidize red on the within these landscapes, and every now and then, the forest
rocks over the grasses onto the ironstone of the landscape and breaks into a view of humans shaping the narrative of each
within the Grassland regions of Glen Lyon farm. Slightly hidden Cycad’s character. Each view highlighting an event that adapts
from civilization, a moment in time plays no factor. Upon and re – adapts to the cultivating and nurturing of Cycad seeds
entrance, the rooigras leads the way towards a deliberate act of that are ready to be exported back into their natural habitat. As
ritual, burning memories of self – reflection for times to come. these ancient living fossils adapt with time, the captivating
No matter your background, your cultural or religious beliefs, retaining walls remain still with memories and voices etched into
there is something intensely unforgettable about the humble them, while the skins of the cycad conservatories slowly
approach winding its way up to the ancient living artefacts of weather away, leaving future generations with an augmented
South Africa. landscape that time cannot erase.
I cannot help, but to follow a narrow paved footpath, carefully
curated by the permanence of retaining concrete and stone
walls first leading up to a pond of refection, that stretches into
the vast horizon of the cycad forest, and then pivoting into a
different direction, leading up to a pit of sacred ground, where
everyone is casually asked to remove their shoes, in respect of
the cycads that South Africa has already lost. Here, the
awareness of the critically endangered status of most South
African cycads, is almost over whelming. As I sit in silence with
nothing but the earth beneath my feet and the open sky shining
onto the memorials of cycads that are extinct in the wild.
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Figure 122: View of Entrance
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5.2 DESIGN SYNTHESIS
5.2.1 ACCOMMODATION LIST
2. Recreational Facilities 3. Cycad conservatory
1. Research Facilities
Nursery Exhibition spaces
Administration Storage
• Reception • Indoor display area
• Reception • Pesticide and herbicide
• Permits offices • Outdoor display area
• Administrative offices store
• Retail area
(Management, HRM, Finance, SCM) • Fertilizer store
• Public toilets Operations
• Phytosanitary applications office • Seed store
• Germination area
• Filing Registry • Equipment store
• Potting shed • Equipment Store
• Boardroom
• Maturing area • Compost and soil area
• Library
• Herbarium
Restaurant
• Staff toilets
• Staff room
• Seating (Indoor & Outdoor)
• Kitchen
Laboratories
• Stores
• Scullery
• Pathology & pests laboratory
• Manager’s office
• Phytosanitary laboratory
• Staff and Public toilets
• Specimens & DNA laboratory
• Waste area
• Quarantine laboratory
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5.2.2 SITE PLAN
5m 15m 50m
10m 25m 100m
Figure 123: Roof layout of Cycad conservation centre
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5.2.3 FIRST LEVEL PLAN
5m 15m 50m
10m 25m 100m
Figure 124: Nursery, Cycad Conservatories and Coffee Shop
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5.2.4 SECOND LEVEL PLAN
5m 15m 50m
10m 25m 100m
Figure 125: Admin offices, Labs and Staff Parking
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5.2.5 THIRD LEVEL PLAN
5m 15m 50m
10m 25m 100m
Figure 126: Staff toilets and Storage
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5.2.6 PUBLIC VS. PRIVATE
The proposed design distinctly distinguishes between public, semi 1. The Cycad Conservatories
– public and private areas. This is achieved between physical The conservatories have a higher frequency of occupation,
barriers, such as windows, gabion walls and visual elements that including both visitors and plant species. However, the
convey different degrees of privacy (Figure 122). conservatories are specifically designed to accommodate the
The design consists of 3 components: needs of the cycad species. Therefore, a steel structure with glass
covering is used to allow for maximum sunlight, Shading screens,
Recreational spaces – (PUBLIC): This includes spaces where
to control heat gain, as well as gabion retaining walls, allowing for
sales and distribution take’s place. Spaces such as the Cycad
natural ventilation and heat storage.
nursery and the restaurant.
Cycad conservatories - (SEMI – PUBLIC): These spaces consist 2. The Recreational and Research Facilities
of permanent Cycad exhibitions, that produces seeds for research The recreational and research facilities articulate and sculpts the
and re – distributions to their natural habitats. landscape, by replacing the excavated soil strategically, and
replacing the existing vegetation on the building’s green roof. This
Research facilities – (PRIVATE): This component is only fully
component is also sunken into the landscape, as a way for the
visible along the public route, to serve an educational purpose to
architecture to highlight and become a part of its surroundings.
the public visitors. It is however, not accessible to public users.
PUBLIC
PRIVATE
Figure 127: Section CC 
Scale 1: 500 
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5.2.7 STRUCTURAL RESPONSE 
The buildings structure responds differently in regard to the
different functions. The structural components, wall thickness and
roof covering is determined between the centre’s private and
public zones. All the materials and structural integrity share a
common theme throughout the building, in which various
components in the building adapts accordingly to the surrounding
landscape (Figure 123). These changes include:
• Wall thickness
• Floor to ceiling height
• Glazing to wall ratio
• Exposed structures vs sunken structures
• Influence of natural lighting
Figure 128: Section of Conservatory 
Scale 1: 200 
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Figure 129: Perspective overlooking conservatories
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5.3 REFLECTION
Upon Reflection and opening this architectural narrative to new Thus, moving towards the idea where anyone and anything can
possibilities. This section of the final design chapter serves as a be a client, needing a place in the world.
personal journal entry, that narrates past and present experiences
of a final year as an architectural student and re- imagines the
possibilities of an architectural future.
It is evident that young architectural professionals will rarely ever
embark on a journey, where the role of a client, architect and
engineer is merged into one. Consequently, this year can easily
be described as a schizophrenic one. A rollercoaster of emotions
and identities constantly shifting from one to another.
However, reflecting back on the year, even though difficult, the
challenge of gathering information, whilst simultaneously making
design decisions was definitely a huge learning curve, that has
forced me to become a more flexible designer. I have a huge
passion for research and reading every possible narrative within a
specific setting, that I can easily get caught up in it.
This year’s project was particularly challenging, as one needs to
listen even more attentively within a landscape setting. A setting
that is constantly at change, yet seems to stand still in character. It
was a project that was quite different in the sense of designing for
plants, rather than humans.
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128
6.1 INTRODUCTION 
6.1.1 Project Background
6.1.2 Objectives and Scope of Work
6.2 TECHNICAL SITE ANALYSIS
6.2.1 Site Description
6.2.2 Topography 
6.2.3 Climate
6.2.4 Geotechnical Setting 
6.3 SUSTAINABILITY AGENDA 
6.3.1 Sustainability Overview
6.3.2 Discourse of Environmental Sustainability
6.3.3 Discourse of Social Sustainability
6.3.4 Discourse of Economic Sustainability 
6.4 TECHNICAL ANALYSIS: CYCAD CONSERVATORY
6.4.1 Conservatory Overview 
6.4.2 Structural Investigation
6.4.3 Conservatory Precedents  
6.4.4 Material Investigation
6.4.5 Conservatory Services
6.5 TECHNICAL ANALYSIS: RESEARCH FACILITIES 
6.5.1 Facility Overview
6.5.2 Structural Investigation 
6.5.3 Material Investigation 
6.5.4 Services required
CHAPTER 06_TECHNICAL SYTHESIS
6. 1 INTRODUCTION 
6.1.1 PROJECT BACKGROUND ii) RESEARCH AND CULTIVATION PROCESS:
The research facilities acts as the backbone for ensuring that the
The proposed Cycad Conservation centre, situated on Glen Lyon
operation of the conservation centre runs properly. The process of
Farm, north of Bloemfontein aims to promote sustainable
research and cultivation enables the centre to implement an active
measures in meaningful architecture, that acts as an active
conservation strategy, whereby the Cycad seeds are harvested
conservation strategy for South African cycad species.
from the Cycad conservatories, processed in the phytosanitary lab
The centre is divided into three building types, namely: Cycad
and transported back into their natural habitat.
conservatories, Laboratories, and Recreational facilities such as a
nursery and café, joined by outside gathering spaces. The facility
operates with two main processes that divides the public from the 6.1.2 OBJECTIVES AND SCOPE OF WORK
private, but still maintains a visual connection between the two
This chapter includes a series of explorations that aims to develop
parties. The functioning of the processes are as follows:
the best possible technical design resolution for the surrounding
environment, community and the client, Steve Trollip. Therefore,
i) EDUCATIONAL AND AWARENESS PROCESS: the technical report on the proposed project, includes numerous
The public route throughout the centre, allows for an experience factors, that investigates the technical aspects of the existing site
that brings about awareness and education on the endangerment conditions, on a macro, micro and meso scale. Furthermore, the
of cycads, and measures taken to ensure the wellbeing of cycads chapter also includes studies on possible sustainable measures
in an unfamiliar environment. The architecture also sets an within the project, possible structural compositions, material use
example of how man – made interventions can be respectfully and services needed for adequate functioning within the buildings.
implemented within the natural environment.
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6. 2 TECHNICAL SITE ANALYSIS 
6.2.1 SITE DESCRIPTION 
The site is located about 12 km North - West of
Bloemfontein and 35 km South – East of Brandfort
Glen Lyon 13
in the Mangaung Metropolitan Municipality, Free
State Province. The site is situated next to the N1
Brandfort highway in a low-lying area at an elevation of 1360
m above sea level surrounded by numerous typical
Free State hills (Opentopotmap, 2019: Online)
(Figure 130 & 131).
Bloemfontein
Figure 130 & 131: Location map of site  
(Google Earth: 28* 58’ 35.94” S 26*16’46.99” E) 
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CADASTRAL INFORMATION
NAME Glen Lyon Farm
ERF NUMBER 13
ZONE Farm, Rural Area
COORDINATES 28*58’35.94” S 26*16’46.99” E
Site
For more detailed cadastral information, refer to Annexure A.
(CSG, 2019: online)
6.2.2 TOPOGRAPHY 
The topographical analysis identifies as the ideal site for the
endangered cycad species, as the site is situated in a ravine
surrounded by Bloemfontein hills allowing the cycads to grow
Figure 132:Topographical Model
against a north facing slope, as they do so in their natural habitat
(Figures 132 - 136).
Figure 133: Elevated on slope with piers Figure 134: On slope with concrete footings Figure 135: Excavated into the Slope
93 000
47 000
50m 150m 300m
Figure 136: Site Section
100m 200m 400m
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CHAPTER 06_ TECHNICAL SYNTHESIS
28 000
Figure 137: Site Plan
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A A
VEGETATION
The vegetation of Glen Lyon farm was clearly influenced by the A B
Karoo. The investigation was carried out to determine the
endangered status of the existing vegetation species on site. This
investigation concludes, according to the Red List Index, that no
plant species in the surrounding area of Glen Lyon are threatened Searsia lancea Boophone disticha
with endangerment, all species indicated fall under the category of (Karee Boom) (Gifbol)
least concern (IUCN, 2019: Online) (Figure 138). Status: Least Concern Status: Least Concern
C D
A C
Vachellia karoo Pleopeltis polypodioides
(Soetdoring) (Resurrection Fern)
Status: Least Concern Status: Least Concern
F
B D
E F
E
Ziziphus mucronata
(Blinkblaar Wag-n’-bietjie) Tatchonanthus camphoratus
Figure 138: Vegetation on site indicating the status of plant species 
Status: Least Concern Status: Least Concern
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6.2.3 CLIMATE PASSIVE DESIGN STRATEGIES
Governed by marine and continental interactions, Africa is known The cycad conservatories accommodates cycad species from
to have a trend in fluctuating climate change (Jury, 2013: 1). The three different climatic regions in South Africa, namely: The sub-
seven vegetation biomes of South Africa are administered by the tropical coastal, Hot interior coastal and the Temperate coastal
country’s climatic conditions, soil types and incidental veld fires, to regions. Therefore, it is essential to take both passive and active
name a few (Conradie, 2012: 3). According to SANS 204 – 2 [1] design principles into consideration, in order to obtain the
standard, South Africa identifies with six climatic regions, ranging optimum environmental control inside the conservatories, located
from sub – tropical to arid climate conditions (Conradie, 2012: 4) in a cold interior region. The following passive design strategies
(Figure 139). were investigated as possible solutions (Figure 140).
• Passive Solar heating, with the use of correct orientation, High
TEMPERATE ARID INTERIOR
HOT INTERIOR
COASTAL window to wall ratio on the north and eastern façades, as well
COLD INTERIOR TEMPERATE SUB – TROPICAL as operable external shading.
INTERIOR COASTAL
• Passive cooling systems, with ponds situated in the interior,
allowing for evaporative cooling of air and increasing humidity
levels.
• Passive ventilation with small openings on either side of the
conservatory, allowing for cross ventilation.
Figure 139: South African Climatic Zones sketched from (Conradie, 2012:4) Figure 140: Passive design in Cycad Conservatory
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6.2.4 GEOTECHNICAL SETTING BOTTLE TEST INVESTIGATION 
According to the geotechnical map (Figure 141), the region north In order to form an idea of the site-specific soil conditions, a bottle
of Bloemfontein is under laid by dolerite mud rock and sandstone test investigation was conveyed in the following manner (GSP,
of the upper stage. 2017: 15):
Experiment: Separating soils and estimating soil particles
Materials needed for the experiment: (Figure 142)
SITE • Soil samples from two locations on the site.
• 2 x Jars of same size with lids
• Water softener
• Water
Steps to be followed to complete the investigation:
Step 1: Fill each jar half full with soil samples
Step 2: Mark the level of soil on each jar and then add the water
softener
Step 3: Add sufficient water to fill the jar and shake well
Step 4:Let the soil settle and document at different time intervals.
Figure 141: South African Geological Map, indicating site position. Figure 142: Equipment used in A B
(Johnson & Wolmarans, 2008:1) experiment.
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RESULTS | Soil Profile
Soils are composed of different sizes. The top layer indicates the
smallest particles (clay), the second layer, the medium size
particles (silt) and the largest size particles (sand and rocks) is
indicated by the bottom layer.
A B
B Figure 144: Results after 15 minutes
A
Figure 143: Plan indicating position of soil samples A B
Figure 145: Results after 3 hours
CONCLUSION
The results from the experiment conveyed that sample A consists
of more heavy materials as oppose to sample B, as (Figure 146)
shows how sample A is a lighter colour than sample B. Also, when
the experiment was conducted Sample B drained the water slower
than sample A. Hence, I would say that sample A consists mostly
of clay and dolerite soil types, where sample B consists mostly of A B
clay and silt soils.
Figure 146: Results after 24 hours
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6. 3 SUSTAINABILITY AGENDA 
6.3.1 SUSTAINABILITY OVERVIEW
This section of the chapter aims to give a concise understanding
of sustainability within the built environment. Arguments have
been made by numerous intellectuals and practitioners from
various professions, debating the meaning of sustainability, and
what it entails to be sustainable. (Morelli, 2011: 2) According to
Torsten Schroeder (2018: 5) “Sustainability encompasses an
interrelated concern of the diverse issues associated with
protecting the environment: ‘promoting human welfare; satisfying
basic needs [...] considering the fate of future generations;
achieving equity between rich and poor; and participating on a
broad basis in decision-making’” In general the word
“sustainability” comes a long way and has evolved over time,
where three discourses seemed to have emerged. (Giovannoni &
Fabietti, 2014: 23;24) Therefore, the following section discusses
the discourse of environmental, social and economic
sustainability, and how it can be applied in place making.
Figure 144: The three discourses of sustainability. 
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6.3.2 DISCOURSE OF ENVIRONMENT SUSTAINABILITY 
The defining word being “environmental”, often tends to be
associated with the existence of a dynamic relationship between
man and nature, and the impact that the other have on one
another. Callicott and Mumford describes this component of
sustainability from a conservational point of view as: “meeting
human needs without compromising the health of ecosystems.”
(Morelli, 2011: 2) In the design process of the conservation centre
for endangered plant species, the above-mentioned concept
becomes crucial in carefully considering how architecture can
mediate such a relationship between man and nature. Therefore,
the following passages explores possible design strategies, by
investigating a precedent study dealing with environmental
sustainability.
PRECEDENT | Solar City
ARCHITECT: Atelier Dreiseitl
LOCATION: Linz – Pichling, Austria
YEAR: 2004 - 2006
Building a relationship with nature has proven to be extremely
beneficial to the welfare of human beings. (Sassi, 2006: 36) The
following precedent study discusses the design of a solar city by
Atelier Dreiseitl and the innovative ways in which the project
integrates a housing scheme with accessibility to its natural
environment. Figure 145: Arial photograph of Solar city (Land 8: 2015:online) 1)
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CHAPTER 06_ TECHNICAL SYNTHESIS
ACCOMMODATING MAN AND NATURE ACCESSIBILITY TO THE NATURAL ENVIRONMENT 
The Solar City design responds to the needs of neighbouring For physical and mental health encouragement, the design further
residents as well as incoming residents. However, being in the inspires residents to enjoy the natural surroundings by making
immediacy of a sensitive natural environment, the project also certain areas accessible to the public (Figure 147). However, from
needed to be carefully planned in terms of limiting and controlling a natural conservational perspective, the design protects the
the human impact onto the environment’s sensitive sedimentary environment from excessive human presence, but highlighting
forest (Figure 146). Therefore, the design accommodates the views of its surrounding, allowing residents visual access, as
need for conserving the attractive open spaces (Land8, 2015: appose to physical access (Sassi, 2006: 36).
Online).
Figure 146: Open public seating within nature(Land 8: 2015:1) Figure 147: View from living units (Land 8: 2015:1)
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CHAPTER 06_ TECHNICAL SYNTHESIS
SUSTAINABLE METHODS FOR DEALING WITH WATER
The “wastewater – free” housing scheme project, implements the sustainable method of separating urine, and recovering it, to
be reused as fertilizer for the surrounding natural realm. The innovative system also purifies grey water and discharges it into
the nearest stream. The project also deals with rainwater in innovative ways, through drainage, collection and disposal (Figure
149). This is achieved by means of gutters, retention hollows and vegetated swales (Figure 148). The rainwater management is
further integrated into the open public spaces, so that residents can be educated and become aware of the natural rainwater
cycle (Land8, 2015: Online).
Figure 148: Resident experiencing the rainwater cycle Figure 149: Public dam (Land 8: 2015:1) Figure 150: Courtyard with pond 
(Land 8: 2015:1) (Land 8: 2015:1)
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DESIGN APPLICATION DESIGN STRATEGIES
The design responds to the needs of both the existing ecosystem In designing for nature conservation within the proposed Cycad
of the site and the Cycads was handled with optimum care, in conservation centre, the following sustainable strategies were
order to achieve the best possible design resolution. implemented in the design of the project:
• The design aims to avoid any destruction of existing natural
habitats, by re-allocating vegetation and soil from the site,
where excavation takes place (Figure 153).
• A thorough analysis was conducted of the existing conditions
Figure 151: Section of conservatory, on site, to establish the ecological value of the site, before any
indicating stormwater drainage
design decisions commenced.
• New plant species (Cycads) that are not native to the Free
State area was introduced in order to increase the plant
diversity of the site. These species are not invasive in any way,
and further develops the existing ecosystem by providing new
nesting places for birds and insects (Figure 154).
• Educational and recreational public spaces were designed to
contribute to the environment’s awareness factor (Figure 154).
Figure 152:Detail of stormwater drainage
Figure 153: Section of Laboratory 
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CHAPTER 06_ TECHNICAL SYNTHESIS
Figure 154: Sustainable aspects on Floor Plan
Scale 1: 1000
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06_ TECHNICAL SYNTHESIS
6.3.3 DISCOURSE OF SOCIAL SUSTAINABILITY 
Social sustainability within the formation of the built environment,
often forms a fundamental part of human activities (Othman, 2007:
10). In defining the word ‘social’ within a sustainable context, can
be described as creating an environment that celebrates,
enhances and supports human activities. In order to build
networks and systems of support amongst people in an urban
environment (Othman, 2007: 10).
PRECEDENT | Torre David
ARCHITECT: David Brillembourg
LOCATION: Caracas, Venezuela
YEAR (Unfinished): 1993
The lecture by photographer, Iwan Baan (2013: Online Lecture),
titled: Ingenious homes in unexpected places, is a well
photographed journey exploring intuitive place making decisions
done by everyday communities, consisting of people living in
vastly different sets of circumstances. Baan starts the lecture by
explaining that it is fascinating to witness how inhabitants within a
place take over in many different ways, once the architect or
developer leaves the site. The Tower of David (Figure 155)
conveys a concise understanding of such places where social
aspects play a crucial role (Baan, 2013: Online Lecture).
Figure 155: Tower of David facade (Baan, 2013)
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CHAPTER 06_ TECHNICAL SYNTHESIS
After the death of the developer, David Brillembourg and the
financial crisis in Venezuela, the Tower of David was left
unfinished as a 45-storey concrete skeleton wrapped with glass in
the city centre of Caracas (Baan, 2013: Online Lecture). Eight
years later, people moved into the unfinished building, and started
to create a place they can call home. The place – making
decisions were fascinating, for example people placed brick
printed wallpaper onto a face brick wall (Figure 156), or residents
created a home from found objects, such as old newspapers and
furniture (Baan, 2013: Online Lecture). More convenient entrances
(Figure 157) and ways of circulating was created and service
spaces such as small businesses started settling (Figure 159), as
a way of sustaining this community (Baan, 2013: Online Lecture).
Figure 156: Apartment decorated Figure 157: Entrances created 
by residents (Baan, 2013) (Baan, 2013) 
The building had no lifts installed or any form of easy
transportation from the ground floor to the 45th floor. Therefore, a
taxi rank was created on the ground floor as a way of giving lifts to
the residents to their upper floor apartments, via the ramps (Figure
158) (Baan, 2013: Online Lecture). The building in itself became
a micro city within a larger city. It was interesting to see how the
design of architecture in this case continues to grow with networks
and social needs of its inhabitants.
Figure 158: Service space created by Figure 159: Taxi Rank on ground floor 
residents (Baan, 2013) (Baan, 2013)
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CHAPTER 06_ TECHNICAL SYNTHESIS
DESIGN APPLICATION DESIGN STRATEGIES
To meet the need for a healthy social environment, where both the In “Social Sustainability, the defining concept refers to an
staff and public community benefit from an informative and environment with a positive outlook within communities. The
educational network. A study on alternative social interventions concept was achieved with the following principles, within the
was done in order to achieve a social sustainable environment design of the project:
within the project (Figure 160 – 162). 1. Ensuring equal access to key services for all users
2. Allowing for a system of relations valuing cultural difference
4. Allowing for a sense of community ownership
5. Transmitting awareness of environmental, economic and social
sustainability from one party to the other.
6. Social tools for a community to fulfil its individual needs where
possible (Figure 161).
Figure 160: Section indicating connection between public and private
Figure 161: Social convention around a tree
Figure 162: Section indicating social 
convention around water
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CHAPTER 06_ TECHNICAL SYNTHESIS
Figure 163: Nodes of social intervention on Floor Plan
Scale 1: 1000
127
06_ TECHNICAL SYNTHESIS
6.3.4 DISCOURSE OF ECONOMIC SUSTAINABILITY 
The defining dimension of economic sustainability can be seen as
twofold. Firstly, an implemented process of stimulating growth
within a community’s economic environment, through job creation.
Secondly, providing a system that increases investment return
and project (Othman, 2007:11). Therefore, in general economic
sustainability entails an approach were an analysis is conducted
to minimize social costs of meeting the requirements of a
community, by protecting environmental assets (Morelli, 2011:2).
PRECEDENT | Genzyme Centre
ARCHITECT: Behnisch & Partner
LOCATION: Cambridge, USA
YEAR: 2000 - 2003
The Genzyme Centre (Figure 164) located within the surroundings
of other active research institutions on a former brownfield site
near Charles River, Cambridge (Arch20, 2012-2019: online). The
building successfully conveys a point of identification for the client,
in which architect, Behnisch, organized the building in the form of
a ‘vertical city’ with the application of sustainable strategies,
aiming to effectively lower the functioning costs within the
workplace environment (Arch20, 2012-2019: online).
Figure 164: The Genzyme Centre (Pfammatter, 2014.)
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CHAPTER 06_ TECHNICAL SYNTHESIS
STRATEGIES FOR NATURAL LIGHT IN DESIGN
Designed from an individual workspace to the overall complexity
of the building. The Genzyme centre aims to generate an
economical sustainable environment, by acting as a catalyst for Figure 166: Use of solar panels 
community regeneration (Genzyme Corporation, 2007:4). This (Phun, X. Y. 2012: 2) 
environment was achieved in numerous aspects, such as passive
design strategies, that aid in natural light enhancement. The 12-
storey building features an open atrium (Figure 168) with an
operable skylight, allowing light to fill the centre of the building
(Genzyme Corporation, 2007:6). Furthermore, the use of reflective
ceilings, metal light distributors and prismatic chandeliers fills 90%
of the workspaces, reducing the cost of artificial lighting in the Figure 167: Use of green roofs.
(Phun, X. Y. 2012: 2)
functioning of the building (Figure 165) (Phun, 2012:2).
BENEFITS OF NATURE IN AN ECONOMIC ENVIRONMENT
Plants in an urban setting serve various functions both
environmentally and economically (Sheweka & Magdy, 2011:596).
In this case the use of greenery inside and outside of the
Genzyme centre serves the purpose of establishing social
connections, an escape from a stressful work environment which
aids in directly benefiting the health of staff members (Sheweka &
Magdy, 2011:596). The eighteen courtyard garden spaces within
the building contributes to the sustainable building concept, in
which an excellent air quality and social dynamic is created
(Sheweka & Magdy, 2011:596). Figure 165: View of the atrium. Figure 168: Section indicating voids that 
(Pfammatter, U. 2014.) allows for visual connection 
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CHAPTER 06_ TECHNICAL SYNTHESIS
DESIGN APPLICATION
The design aims to encourage an economically sustainable
environment, with the use of design tools, that will allow the
facilities to function semi – off – the – grid. The following strategies
were investigated as possible solutions to the final design
resolution.
DESIGN STRATEGIES
Economic Sustainability focuses on the following strategies:
1. Creating new markets and opportunities for sales growth
(Figure 169 & 171).
2. Reducing functioning costs by reducing and improving energy
and raw material inputs (Figure 171).
3.Creating a healthy environment for surrounding communities, by
increasing job opportunities and education (Figure 170).
Figure 169: Diagram of Cycad distribution process Figure 170: Detail of Cycad conservatory 
130
CHAPTER 06_ TECHNICAL SYNTHESIS
Figure 171: Economical Sustainable aspects on Floor Plan
Scale 1: 1000
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06_ TECHNICAL SYNTHESIS
6. 4 TECHNICAL ANALYSIS: CYCAD CONSERVATORIES 
6.4.1 CONSERVATORY OVERVIEW 6.4.2 STRUCTURAL INVESTIGATION
The mere definition of a conservatory, also known as a The structural composition of a conservatory is based on the
greenhouse or a glasshouse, constitutes the concept of housing covering material used, as well as the established objectives and
nature, that would otherwise not survive in hostile climatic challenges of the type of plant species accommodated, within the
conditions. (Manohar & Igathinathane, 2007:43) In this case, the unique conditions of the surrounding environment, in terms of
choice of structural and material compositions is based on climatic and geotechnical conditions (Shamshiri, 2006- 2007:12).
decisions specific to the selected South African Cycad species. In In the case of this design project, the overall objective of the
general, the functioning purpose of a conservatory, is to allow for conservatory design, is to develop an effective controlled
the sun’s ultraviolet radiation to heat up the interior of the building, environment within which the growth and reproduction of South
during cold winter periods and cool down the building during African cycads can optimally be cultivated in the climatic
summer, through the use of passive and active ventilation conditions of the Free State landscape.
systems. (Shamshiri, 2006- 2007:8) In view of structural and
Various types of structural frames are commonly employed to
material use, the design criteria requires’ thorough consideration
achieve a protected environment for agriculture, each with its own
towards energy conservation, in which sufficient transparency in
advantages and disadvantages. The following discussions serves
contrast to solar energy is maintained. (Manohar & Igathinathane,
as explorations in determining the most appropriate structural
2007:43) This section of the chapter, investigates possible
frame for the cycad conservatory design. According to Shamshiri
structural elements and materials needed for the conservatory to
(2006-2007:12), there are two types of conservatory styles
function optimally in the cultivation of the accommodated cycad
generally constructed: Firstly, the attached style and secondly, the
species.
freestanding style.
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CHAPTER 06_ TECHNICAL SYNTHESIS
i) AN ATTACHED CONSERVATORY
A conservatory designed to structurally co – exist with an adjacent
building. This style is particularly useful in situations where space
is restricted. The main disadvantage of this style is the restrictions
constituted by the existing architecture. It is designed to blend with
the surrounding buildings and landscape, and therefore presents
restrictions in terms of structural form, height and types of
cultivations. (Shamshiri, 2006- 2007:12) Structural forms included a) Straight-side lean-to
in this style are as follows:
a) Straight-side lean-to
b) Curved-side lean-to
c) Slant-side lean-to
The lean-to structural design of a conservatory entails a structural
frame that is placed against an existing structure. The design
b) Curved-side lean-to
reduces the requirement of roof supports, as the roof of the
existing building is extended with appropriate greenhouse
covering material. (Manohar & Igathinathane, 2007:8) This style of
construction was not further investigated as the design of this
project leans more towards a freestanding conservatory style,
which is further investigated in the following discussion, due to the
spatial site conditions of the project as well as the height required
c) Slant-side lean-to
for accommodating the various cycad species
133
CHAPTER 06_ TECHNICAL SYNTHESIS
ii) A FREESTANDING CONSERVATORY
Defined as a conservatory that structurally functions in isolation f) Dome
from its surrounding architectural context. The main advantage of The dome form constitutes an organic – like structure, that
this style is the flexibility offered in terms of structural shape and has the ability to be completely self-supporting, with no
sizes, site selection and accommodating a large variety of growing internal supports. Thus, increasing the internal space of a
situations. The only disadvantage established in this style of conservatory. It entails a composition of tubular space
construction is the height restriction presented near the side walls frames supporting individual transparent panels, glass or
of the conservatory. (Shamshiri, 2006- 2007:12) The various plastic, in the form of hexagons, pentagons or triangles.
structural forms included in this style are as follows: (Jordaan, 2007:39) Although the structural look may
d) Quonset present itself as unusual, yet attractive, this structural form
The Quonset frame, in general, entails a pipe frame is challenging to construct and expensive to sufficiently
construction with a flexible covering material, such as heat or cool (Shamshiri, 2006- 2007:12).
polyethylene. It is typically less expensive to construct and g) A-frame
useful for covering small isolated areas (Manohar & An A-frame structure entails a basic structural composition
Igathinathane, 2007:10). of two parallel beams angled at 45 degrees, attached at
e) Even span the top by means of a central beam. This structure is easy
This type of structure, generally entails truss frames to construct and inexpensive. It allows for a small usable
consisting of flat steel, tubular steel or angle irons welded growing area, but also tends to establish awkward internal
together to form a truss, supported by columns, only in the spaces (Shamshiri, 2006- 2007:12).
case of wide truss frame greenhouses (Manohar &
Igathinathane, 2007:10). It is more efficient to heat or cool
and functions better with a rigid covering material, such as
plastic or glass, thus increasing the life span of the
greenhouse (Shamshiri, 2006- 2007:12).
134
CHAPTER 06_ TECHNICAL SYNTHESIS
6.4.3 CONSERVATORY PRECEDENTS
The following precedent studies, serve as an
investigation in the previously discussed structural
forms of a freestanding conservatory style. The
structural philosophy and composition, as well as the
materials used in both the structural framework and the
d) Quonset Figure 172: Woodland Greenhouse conservatory skin will be discussed. Hence, the
(Arch Daily, 2014: online)
precedents investigated are as following:
1. Siu Siu Laboratory of Primitive senses, set
in Taiwan and designed by Divooe Zein
Architects (Figure 172).
2. Gage Park Greenhouse, designed by Mc
e) Even Span Figure 173: Gage Park (Mc Callum 
Callum Sather Architects in Hamilton,
Sather, 2019: online).
Ontario (Figure 173).
3. Sir Nicholas Grimshaw explores the notion
of efficiency in the design of a series of
conservatories, called the Eden project, in
Cornwall, UK (Figure 174).
f) Dome Figure 174: Eden Project (Grimshaw:  4. After the devastating fire at Notre Dame
online). 
Cathedral in Paris, based architects, Studio
NAB, proposed the design of a giant
greenhouse, replacing the damaged roof of
Notre Dame Cathedral (Figure 175).
d) A-frame Figure 175: Notre Dame (Wang, 2019: 
online).  
135
CHAPTER 06_ TECHNICAL SYNTHESIS
PRECEDENT | Siu Siu Laboratory of Primitive Senses PRECEDENT | Gage Park Greenhouse
Location: Taipei, Taiwan Location: Hamilton, Ontario
Architect: Divooe Zein Architect: Mc Callum Sather
Year: 2014 Year: 2019
Figure 176: Exterior Façade Figure 177: Internal structure 
(ArchDaily, 2014: online). (Mc Callum Sather, 2019: online).  
Set within a woodland liminal space near Taipei, architectural The recently constructed Gage Park Greenhouse acts as a
studio, Divooe Zein explores the environmental transition between cultural focal point in Hamilton, supporting the need for knowledge
the built and natural realm (Arch Daily, 2014: online). on natures hidden wonders (Mc Callum Sather, 2019: online).
The structural philosophy presented in the curved greenhouse The design’s structural philosophy is to pay tribute to the park’s
structure is an open habitable space, not for human comfort but historical landmarks, such as the previously demolished teak
for nature and stray animals to settle. Hence, the structural greenhouse, from the 19th century (Mc Callum Sather, 2019:
composition entails a steel and timber framework, covered with a online). Therefore, the design embraces a structural combination
permeable screen, that allows for sunlight and ventilation to filter between pre – engineered steel components and curved glulam
throughout the space (Mairs,2015: online). The structure itself, ribs (Wager, 2019: online). Furthermore, the structure is
does not embody a state of permanence, but instead encompassed by two envelopes, consisting of transparent Lexan
impermanence, as it allows nature to invade and settle within and polycarbonate sheeting, covered with shade cloth for the purpose
around the architecture (Refer to chapter 2 for full analysis). of reducing the internal temperature during summer periods
(Wager, 2019: online).
136
CHAPTER 06_ TECHNICAL SYNTHESIS
PRECEDENT | The Eden Project PRECEDENT | Proposed Greenhouse in Notre Dame Cathedral
Location: Cornwall, UK Location: Paris, France
Architect: N. Grimshaw Architect: Studio NAB
Year: 2011
Figure 178: Structural Model (Grimshaw: Figure 179: Project in context (Wang, 
online) 2019: online)
Engulfed in an 80m deep abandoned quarry, architect, Nicholas Subsequent to the flaming destruction of Notre Dame’s roof
Grimshaw designed a series of bubble–like biomes, structured to structure in Paris, design team, Studio NAB proposed to shelter
easily adapt to the site’s crumbling clay conditions (Grimshaw, the 856-year-old cathedral with a greenhouse (Wang, 2019:
[n.d]: online). online).
Presenting a structural philosophy of efficiency in both space and
material. Each dome consists of a ‘hex-tri-hex’ space frame The design intends to act as an inspirational node for education
comprised by geometric steel components that are light and on environmental diversity and harmony within its urban setting.
easily transportable to the site (Stevens, 2016: online). The The structural approach aims to re – active the damaged roof of
dome’s geodesic shape provides an even distribution of loads to the 13th-century Gothic landmark, by restoring and modernizing
the ground, thus eliminating the need for large concrete footings its original structural form (Wang, 2019: online). Hence, the
(Bissegger, 2006: online). Furthermore, the design’s efficiency is structural composition of the greenhouse shadows the original
further intended with an external cladding of high performance silhouette of the distorted roofline, featuring gold-coloured steel A-
ETFE transparent foil cushions, providing maximum surface area frames, enclosed with clear glass panels, to allow for a panorama
and minimum perimeter detailing (Stevens, 2016: online) (Refer to view of the cityscape (Wang, 2019: online).
chapter 2 for full analysis).
137
CHAPTER 06_ TECHNICAL SYNTHESIS
6.4.4 MATERIALS
The earliest resemblance of a greenhouse system dates back to For the purpose of this research, the four covering materials
the era of Roman emperor Tiberius, where artificial methods were (Polyethylene membrane, Polycarbonate sheeting, ETFE foil and
employed to cultivate cucumbers all year-round. Agricultural glass) identified in the previously discussed conservatory
writers of the era, documented the first known covering materials precedents, will be further investigated in terms of their physical
of the cucumber house, as an oil cloth, identified as ‘specularia’ or properties, such as light transmission, material weight, resistance
sheets of transparent stone, defined as ‘mica’ (Shamshiri, 2006- to impact, durability to outdoor weather and thermal stability. In
2007:8). By the 19th century, the manufacturing of glass as a addition, the advantages and disadvantages of its application in
construction material became more popular in covering the terms of cost and usage life span will conclude the research to
traditional greenhouse steel structures (EAT, 2007: online). selecting an appropriate covering material for the cycad
Today, the possibilities of covering materials provides a wide conservatory. With the intention of accommodating South African
spectrum from flexible polyethylene mesh to high performance cycad species from three climatic regions in the Free State’s cold
ETFE transparent panels. interior climate conditions, the following material properties is
required to obtain an optimal conservatory habitat for the selected
Central to the following exploration is the key factors influencing cycads.
material selection in a conservatory’s surface design. According to
• It should have a high light transmittance, to allow for
Shamshiri (2006-2007:16), the external envelope of a
optimal photosynthesis to occur.
conservatory serves as a key component in the internal
• It should reflect or absorb IR radiation, to prevent the
functioning of the cultivated area. It directly impacts plant growth,
conservatory from overheating.
in terms of the level and type of solar radiation transmitted to the
• It should be locally manufactured and maintained, for the
plant canopy, thus conveying an indirect impact on the
purpose of an economically sustainable design.
microclimate of the enclosed space.
• It should have a usable life span of 10 to 20 years, to allow
for a long enough period where young cycad seedlings
can establish themselves without any climatic
interruptions.
138
CHAPTER 06_ TECHNICAL SYNTHESIS
MATERIAL | Polyethylene Membrane MATERIAL | Polycarbonate Sheeting
The notion of a membrane originates The rigid but also flexible properties of
from the Latin word ‘membrana’ and polycarbonate sheeting revolutionized
literally means skin or parchment the field of greenhouse structures
(Moritz, 2004:59) The characteristics during the 60’s of the 20th century
central to this type of material, is that it (EAT, 2007: online).
is thin and permeable, allowing for
natural ventilation and a light weight
(Moritz, 2004:59).
Figure 180: Membrane Figure 181: PC Panels
(ArchDaily, 2014: online). (Wager, 2019: online). 
Polyethylene (PE) is classified as a synthetic thermoplastic, widely Polycarbonate (PC) is classified as a synthetic thermoplastic
manufactured through the process of polymerization to derive widely manufactured by means of polycondensation. Plastics
chain-like molecule structure, allowing for its flexibility in size and derived from this process offers physical properties such as high
shape (Kattenbach, 2004:41). Polyethylene mesh is typically a impact strength and high heat refraction temperature (Kattenbach,
knitted fabric exhibiting a thread like structure, consisting of 2004:41). When employed in greenhouse structures, a uniform
numerous synthetic fibres (Moritz, 2004:59) Commonly used in light intensity is provided along with a more cost-effective solution
greenhouse structures, for its ability to disperse loads (Moritz, due to its light weight.
2004:59). The polyethylene membrane also cools the internal In comparison to glass, the advantage of polycarbonate sheeting
temperature of a conservatory, when in contact with warm air. is its resistance to breakage, reducing maintenance costs. It also
Polyethylene, manufactured with Infrared absorbing properties, has a usable life span of 10 to 15 years and it often used for its
reduces internal heat gain and loss, whilst maintaining the level of insulation properties, reducing heat transmittance (Manohar &
light transmittance (Manohar & Igathinathane, 2007:10). Igathinathane, 2007:14). The major disadvantage is its tendency
Offering advantages in low labour and construction costs, due to to harbour algae, when used in greenhouse conditions, resulting
less structure required, the main disadvantage of this material is in the darkening of panels and thus reducing light transmission
its short life span of 2 year (Manohar & Igathinathane, 2007:10). (Manohar & Igathinathane, 2007:15).
139
CHAPTER 06_ TECHNICAL SYNTHESIS
MATERIAL | ETFE [ethylene tetrafluoroethylene] Foils
Initially designed in the 1930’s as an insulation product for the
field of aeronautics, Ethylene tetrafluoroethylene (ETFE) recently
took to light in the application of building textiles ( Kayayci, Avinc
& Yavas, 2016: 717).
Ethylene tetrafluoroethylene (ETFE) exhibits the chemical
structure of a fluoroplastic, classified as a synthetic plastic, that is
engineered during the process of polymerization to derive a chain-
like macro-molecule structure (ETFE) with high performance Figure 182 & 183: Detail of EFTE Pillows (Architen Landrell, 2013:2). 
properties, such as resistance to flame or high temperatures
(Kattenbach, 2004:41). The manufacturing of EFTE pillows Although this material provides promising qualities in the
consists of a single or multi membrane layers, that is supported by application of architectural designs, for the purpose of this design
an aluminium net system, in which each pillow is recurrently project, the major disadvantage of EFTE used in South Africa, is
pressurized by a small inflation unit (Architen Landrell, 2013:2) that the material is not manufactured locally, thus increasing the
(Figure 54 & 55). cost of application, as it has to be imported. Consequent to the
The use for application in a conservatory design, such as The latter, is the requirement for frequent maintenance by a
Eden Project, is its ability to roughly transmit 85 – 95% light, specialized team, from the manufacturer (Texlon: website). In
together with the function of acting as an excellent insulator for situations, such as power failure, a rapid response is needed from
solar control performance (Kayayci, Avinc & Yavas, 2016:719). the maintenance team, as the EFTE cushion will only maintain
ETFE, is environmentally sustainable in many ways, as it is pressure for three to six hours before deflating, in which the
provided with a 100% recycling ability, it is light in weight, possibility for roof damage is increased (Architen Landrell,
reducing the need for excessive structural support and large 2013:3). For these reasons, it is important that the product
foundation footings and has a life span of approximately 50 years provider, along with their maintenance team is based in a close
(Architen Landrell, 2013:3). proximity to the projects.
140
CHAPTER 06_ TECHNICAL SYNTHESIS
MATERIAL | Glass
From a scientific perspective, the word ‘glass’ relates to the CASE STUDY | Botanical Conservatory
concept frozen, it delineates a process whereby supercooled Location: Kirstenbosch Botanical Gardens, South Africa
liquid solidifies without crystalizing (Bernhard, Kristina, Tasche & Architect: Jullian Elliot
Unnewehr, 2009:11). It is an inorganic fusion product, that Year: 1996
exhibits a no crystalline structure, allowing for properties such as
transparency and light transmittance without diffusion.
(Compagno, 2004:10). In the field of greenhouse construction,
glass is commonly known as a traditional glazing material, that Figure 185: Glass conservatory 
(Photo by Author)
has been used prior to the 1950’s.
Glass though fragile, is a strong material when it is used properly
and loaded in the correct way. (Manohar & Igathinathane,
2007:45). It provides the advantage of greater light transmittance,
as well as a higher air infiltration providing conditions for disease
prevention (Manohar & Igathinathane, 2007:45). In the case of the
cycad conservatory design, the use of glass is affordable, and has
a life span of about 20 years. It is locally manufactured and
commonly known in terms of maintenance, thus providing job
opportunities to surrounding communities. Furthermore, the high
light transmittance and lack of insulation properties provides the
opportunity for greater internal variety in climatic conditions, that
may be provided with the application of glass together with a
shading system. Hence, providing the ability for accommodating
all South African cycad species, from various geographic
Figure 184: Sketches of glass Figure 186: Internal structure (Photo 
locations. connections. by Author)
141
CHAPTER 06_ TECHNICAL SYNTHESIS
6.4.5 CONSERVATORY SERVICES 
GREENHOUSE COOLING SYSTEM
The fan-and-pad cooling system has been available since 1954
and is still the most common summer cooling system in
greenhouses. Along one wall of the greenhouse, water is passed
through a pad that is usually placed vertically in the wall
(Shamshiri, 2006-2007:8).
Exhaust fans are placed on the opposite wall. Warm outside air is
drawn in through the pad. The supplied water in the pad, through
the process of evaporation, absorbs heat from the greenhouse air
Figure 187: Sketch of Fan and Pad system
passing through the pad as well as from the surroundings of the
pad and frame, thus causing the cooling effect (Manohar &
Igathinathane, 2007: 21) (Figure 187).
142
CHAPTER 06_ TECHNICAL SYNTHESIS
Cycad Conservatory Section 
Scale 1: 100
143
CHAPTER 06_ TECHNICAL SYNTHESIS
6. 5 TECHNICAL ANALYSIS: RESEARCH FACILITIES 
6.5.1 WATER HARVESTING
The proposed project is designed to collect rain, that will be
reused in the watering of the Cycads. These collection methods
includes sub – drainage systems collected from the run-off of the
surrounding hard landscaping (Figure 188). Furthermore,
rainwater is collected in the catchment of the plenum, which is
circulated/ discharged into the surrounding landscape and Cycad
conservatories, thus creating a loop system where the water
remains in constant motion (Figure 189). This system eliminates
the threat of bacteria and fungi growing in motionless water, that
may be transferred to the Cycad species. Water discharged from
the plenum will assist where possible to supplement the use of
borehole water on site (Figure 190).
Figure 188: Details of slot drain set below paved level or decorative 
cobble cover. 
144
CHAPTER 06_ TECHNICAL SYNTHESIS
Figure 189: Detail of sub-drainage Figure 190: Detail section of plenum
145
CHAPTER 06_ TECHNICAL SYNTHESIS
6.5.2 GREEN ROOF
The research and recreational functions of the facility is lowered
into the ground, consequently allowing for the landscape to be
extended onto the building’s roof structure. The proposed project
utilises green roofs, to act respectfully towards the existing site’s
vegetation, by replanting the vegetation on the green roof
structure. This sustainable strategy in incorporated to minimize the
destructive impact of developing infrastructure in a natural setting.
The roof structure also aids in insulating the building and thus,
acts as thermal mass during the Free State’s hot summers and
cold winters. The green roofs consist of a sloped screed, two
layers of bitumen waterproof membranes and an anti-root
protective geotextile drainage layer (Figure 191).
6.5.3 NATURAL LIGHTING
Structural glass in skylights is used to allow natural light to
penetrate deeply recessed areas within the building (Figure 191-
193). These light shafts protrude above the natural ground level
and are assembled using structural glass fins and stainless steel
spider brackets. The structural glass consists of 12mm thick PVB
laminated glass panels with an OPEL finish, allowing for a softer
Figure 191: Detail of green roof. 
illumination.
146
CHAPTER 06_ TECHNICAL SYNTHESIS
Figure 192: Detail of Skylight in green roof. 
Figure 193: Detail of window. 
147
CHAPTER 06_ TECHNICAL SYNTHESIS

01_ LOCALITY PLAN SCALE 1: 10 000  
SITE PLAN SCALE 1: 1 000
02_ SITE DEVELOPMENT PLAN SCALE 1:500
03_ LABORATORY FLOOR PLAN SCALE 1:100
04_ SECTION BB SCALE 1:50
SECTIONAL – ELEVATION SCALE 1:200
05_ DETAIL 1 (DRAINAGE) SCALE 1:20
DETAIL 2 (SEATING) SCALE 1:5
06_ DETAIL 3 & 4 (GREEN ROOF) SCALE 1:5TECHNICAL DRAWINGS 
170





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162
ANNEXTURE A
1. Stangeria eriopus
Common Name: Stranger’s Cycad
Distribution: Eastern Cape and Natal
Status: Vulnerable
Cultivation: Stangeria eriopus is frost tender and responds well
to ample moisture and light shade. Cultivation in the Free
State’s climate occurs under greenhouse conditions.
Height: 2m
Threats:
The Natal grass cycad has been seriously depleted in parts of its
natural range by the extension of agriculture and forestry.
Figure: Stangeria eriopus (Goode, 1984:24)
Giddy, C. 1984. Cycads of South Africa. Cape Town: Struik Winchester.
Goode, D. 1984. Cycads of  Africa. Cape Town: Struik Winchester
2. Encephalartos ghellinckii
Common Name: Drakensberg Cycad
Distribution: Natal
Status: Vulnerable
Cultivation: Encephalartos ghellinckii is a frost-hardy species that
should be grown in a shady position with a cool, moist root run, in
a slightly acidic soil mixture.
Height: 4m
Threats:
Many of these specimens have stems blackened by veld fires,
and it seems that fire may simulate the production both of new
leaves and of cones. Veld fires in the habitat of the Transkei form
are so frequent and so intense that the leaf – base scar pattern of
the stems of the majority of the specimens is burned away
completely and is no longer disenable.
Figure: Encephalartos ghellinckii (Goode, 1984:28)
3. Encephalartos cycadifolius
Common Name: Winterberg Cycad
Distribution: Eastern Cape
Status: Least concern
Cultivation: Encephalartos cycadifolius is a frost-hardy species
that requires full sun, along with well-drained and alkaline soil
mixtures.
Height: 2,4m
Threats:
During a prolonged draught, these cycads are reproductively
dormant. Soon after the rain starts, however, both male and
female plants will start to cone. Porcupines are known to enjoy
eating the scales of cones that are easy to reach, and they inflict
some damage on the stems by gnawing the fleshy ‘bark’. It has
been suggested that seeding populations are usually to be found
only in areas where porcupines are being controlled by the local
farmers. When the plants are coning, considerable damage may
also be caused by baboons, which break the leaves and snap off
young immature cones.
Figure: Encephalartos cycadifolius (Goode, 1984:32)
4. Encephalartos lanatus
Common Name: Olifants River Cycad
Distribution: Transvaal
Status: Near Threatened
Cultivation: Encephalartos lanatus is more challenging to re-
establish plant specimens, preferably not larger than 25cm. The
wolly stem of the cycad requires frequent moisture, under
greenhouse conditions. Furthermore, this species is frost-hardy,
but sensitive to dry heat.
Height: 4m
Figure: Encephalartos lanatus (Goode, 1984:36)
5. Encephalartos humilis     
Common Name: Dwarf Cycad
Distribution: Eastern Transvaal
Status: Vulnerable
Cultivation: Encephalartos humilis easily grows in cultivation and
rarely requires special treatment. It is a grassland species that
prefers full sun and adequate moisture.
Height: 0,7m
Figure: Encephalartos humilis (Goode, 1984:40)
6. Encephalartos laevifolius
Common Name: Kaapsehoop Cycad
Distribution: Eastern Transvaal
Status: Critically Endangered
Cultivation: Encephalartos laevifolius naturally occurs in the rocky
outcrops alongside the Kaapsehoop mountains. This species
grows well against a slope in full sun, and is able to survive
extreme climatic conditions.
Height: 2,5m
Threats:
A small surviving colony of 30 to 40 plants grows on the very
steep slopes. The procumbent, ebony-black stems are clearly
subject to scorching fires at regular intervals. Veld fires are fatal to
seedling cycads. Also no seedling populations in the habitats of
this cycad is found, due to a fungal infection of female cones
which prevents them from maturing.
The plants were also damaged by locals, who were using portions
of its stem for herbal medicines.
Very recently a fifth locality was discovered , however only three
to six strictly protected plants remain here, others have already
been removed – apparently illegally – by collectors.
Figure: Encephalartos laevifolius (Goode, 1984:44)
7. Encephalartos friderici - guilielmi
Common Name: White – haired Cycad
Distribution: Eastern Cape
Status: Near threatened
Cultivation: Encephalartos friderici – guilielmi is a frost-hardy
species that readily adapts in various climatic conditions. It grows
optimally in full sun with good drainage.
Height: 4m
Threats:
The immediate future of this species seems assured if one goes
by the large numbers of seedlings present throughout its range.
Although it occurs in grassland habitats presumably subject to
regular fires there is little evidence of significant damage, perhaps
because its stems are hard and compact enough to resist even
sever scorching.
Figure: Encephalartos friderici-guilielmi (Goode, 1984:50)
8. Encephalartos eugene-maraisii
Common Name: Waterberg Cycad
Distribution: Transvaal
Status: Endangered
Cultivation: Encephalartos eugene-maraisii is a frost hardy
species that grows optimally in full sun. Therefore, this species
will do well in the Free State’s climate conditions.
Height: 5,5m
Threats:
Baboons are common in the areas where this species occurs and
large troops can often be seen foraging among erect and
procumbent specimens. Fortunately, they take little or no interest
in the surrounding cycads except for the occasional breaking of a
cone out of curiosity. In recent years, however, there has been
little evidence of successful natural regeneration, and a restocking
programme is now in progress.
Figure: Encephalartos eugene-maraisii (Goode, 1984:58)
9. Encephalartos middelburgensis
Common Name: Middelburg Cycad
Distribution: Transvaal
Status: Critically Endangered
Cultivation: Encephalartos middelburgensis naturally occurs in the
valleys of the Olifants River in the Middelburg and Witbank
districts. The natural habitat occurs in hot summers and cold
winters, with frequent frost occurring.
Height: 6m
Figure: Encephalartos middelburgensis (Goode, 1984:62)
10. Encephalartos dolomiticus
Common Name: Wolkberg Cycad
Distribution: Transvaal
Status: Critically Endangered
Cultivation: Encephalartos dolomiticus naturally occurs within a
grassland habitat and is securely situated next to large outcrops
of dolomite rock. This species requires full sun and good
drainage.
Height: 2m
Figure: Encephalartos dolomiticus (Goode, 1984:66)
11. Encephalartos dyerianus
Common Name: Lillie Cycad
Distribution: Transvaal
Status: Critically endangered
Cultivation: Encephalartos dyerianus grows naturally in
subtropical conditions with hot summers and mild winters. Needs
to be cultivated under hothouse conditions, to protect the cycad
from frost damage in the Free State’s climate conditions.
Height: 5m
Threats:
Although plants cone regularly, considerable damage is inflicted
on the female cones by tree squirrels and most cones abort before
maturity.
Figure: Encephalartos dyerianus (Goode, 1984:70)
12. Encephalartos cupidus
Common Name: Blyde River Cycad
Distribution: Transvaal
Status: Critically endangered
Cultivation: Encephalartos cupidus is a frost hardy species, that
grows well in in full sun, where good drainage is an essential
factor.
Height: 1,5m
Threats:
The leaves of E. cupidus are frequently attacked by the larvae of
the leopard magpie moth, but although the damage inflicted is
probably temporary rather than permanent.
The recurrent grass fires are a far greater threat to the cycads,
destroying both cones and the vulnerable seedlings.
Baboons also take their toll of cones and seeds and are present
in large numbers in E. cupidus habitat.
Figure: Encephalartos cupidus (Goode, 1984:74)
13. Encephalartos princeps     
Common Name: Kei Cycad
Distribution: Eastern Cape
Status: Vulnerable
Cultivation: Encephalartos princeps is an extremely hardy cycad
species, that requires full sun and good drainage. Therefore, this
species will grow well in the Free State’s climatic conditions.
Height: 5m
Figure: Encephalartos princeps (Goode, 1984:78)
14. Encephalartos lehmannii
Common Name: Karoo Cycad
Distribution: Eastern Cape
Status: Near Threatened
Cultivation: Encephalartos lehmannii is an extremely hardy plant,
and requires full sun and good drainage. This species will grow
well in the Free State’s climate conditions.
Height: 3m
Figure: Encephalartos lehmannii (Goode, 1984:82)
15. Encephalartos horridus
Common Name: Eastern Cape Blue Cycad
Distribution: Eastern Cape
Status: Endangered
Cultivation: Encephalartos horridus is a frost-hardy species that
should be positioned in a well drained area, in full sun.
Height: 1,6m
Threats:
There is little doubt that Encephalartos horridus is one of the
most unusual and interesting of all the Encephalartos species.
The intense blue of its foliage is unique, and is not equalled by
any of the other ‘blue’-leaved cycads. The plant itself is
considered to be extremely attractive both in it’s coloration and
in the unusual rigid curling of its leaves, making this species,
incredibly attractive to illegal cycad collectors.
Figure: Encephalartos horridus (Goode, 1984:86)
16. Encephalartos trispinosus
Common Name: Bushman’s River Cycad
Distribution: Eastern Cape
Status: Vulnerable
Cultivation: Encephalartos trispinosus is a hardy species that
requires full sun and good drainage.
Height: 2m
Figure: Encephalartos trispinosus (Goode, 1984:90)
17. Encephalartos arenarius
Common Name: Alexandria Cycad
Distribution: Eastern Cape
Status: Endangered
Cultivation: Encephalartos arenarius is a frost sensitive species
and should be cultivated in half shade area with low humidity
during summer.
Height: 2,5m
Figure: Encephalartos arenarius (Goode, 1984:94)
18. Encephalartos latifrons
Common Name: Albany Cycad
Distribution: Eastern Cape
Status: Critically Endangered
Cultivation: Encephalartos latifrons is a slow growing species, and
occurs in close proximaty to E. arenarius. Reproduction in it’s
natural habitat is close to impossible, due to the fact that the male
and female plants are situated to far apart from each other, in
order for reproduction to take place. Therefore, hand pollination
needs to take place in order to conserve this particular species.
Height: 4,5m
Threats:
Seed production in nature is believed now to be non-existent.
Coning in this cycad is irregular at the best of times and the
problem is compounded by the fact that the few plants surviving in
the wild are widely separated.
With male and female plants no longer occurring in close
proximity to one another to allow pollination to take place.
Figure: Encephalartos latifrons (Goode, 1984:98)
19. Encephalartos longifolius
Common Name: Suurberg Cycad
Distribution: Eastern Cape
Status: Near threatened
Cultivation: Encephalartos longifolius is semi-hardy to frost, and
prefers a slightly acid soil mixture with ample moisture. This
cycad will be able to survive in the Free State’s climatic
conditions.
Height: 6m
Threats:
In the Perdepoort and Kirkwood areas considerable damage is
caused to E. Longifolius by porcupines which chew beaver-like at
the bases of the stems.
Figure: Encephalartos longifolius (Goode, 1984:102)
20. Encephalartos altensteinii
Common Name: Eastern Cape Giant Cycad
Distribution: Eastern Cape
Status: Vulnerable
Cultivation: Encephalartos altensteinii is semi-hardy to frost, and
grows well in either full sun or shade. Therefore this cycad can be
cultivated in the Free State climatic conditions.
Height: 5,5m
Threats:
Encephalartos altensteinii is not often subjected to fire in its
protected forest habitat and is still a relatively common species
despite the depredations of collectors. The Knysna lourie has
been known to eat the seeds of this cycad species, digesting the
fleshy covering and regurgitating the poisonous kernel. The larvae
of the geometrid moth have recently been reported as feeding on
the leaves of E. altensteinii.
Figure: Encephalartos altensteinii (Goode, 1984:106)
21. Encephalartos natalensis
Common Name: Natal Giant Cycad
Distribution: Natal
Status: Near threatened
Cultivation: Encephalartos natalensis naturally grows in a rocky
area in steep sided valleys, where good drainage occurs. With
correct site orientation and frost protection provided by
surrounding hills, this cycad will be able to grow in the natural
conditions of the Free State climate.
Height: 7m
Threats:
Fire is not normally a threat to E. natalensis, whose rocky
environment and evergreen vegetation associates provide it with
the necessary protection. The larvae of the leopard magpie moth,
however, causes considerable damage to the species foliage in
certain areas.
Figure: Encephalartos natalensis (Goode, 1984:114)
22. Encephalartos lebomboensis
Common Name: Lebombo Cycad
Distribution: Natal and Transvaal
Status: Endangered
Cultivation: Encephalartos lebomboensis is semi-frost hardy and
requires full sun to grow optimally.
Height: 5,5m
Threats:
Known as one of the most common
Figure: Encephalartos lebomboensis (Goode, 1984:120)
23. Encephalartos heenanii
Common Name: Woolly Cycad
Distribution: Transvaal
Status: Critically Endangered
Cultivation: Encephalartos heenanii grows naturally in steep rocky
areas with a clear preference for open situations.
Height: 4m
Figure: Encephalartos heenanii (Goode, 1984:128)
24. Encephalartos transvenosus
Common Name: Modjadji Cycad
Distribution: Transvaal
Status: Least Concern
Cultivation: Encephalartos transvenosus grows naturally in cool
and humid summers and when grown in drier areas with full sun,
the leaves may become scorched. Frost protection is necessary
for optimal growth. Therefore, hothouse conditions is required in
the Free State.
Height: 8m
Threats:
The Modjadji cycad takes its name from the tribal lands of the
Balobedu Baga Modjadji people in the self – governing state of
Lebowa. It has enjoyed the protection of a succession of
hereditary rulers known as the “Rain Queen” over a period of
some 300 years and has flourished to the extent that it has
formed a quite splendid cycad forest.
Figure: Encephalartos transvenosus (Goode, 1984:132)
25. Encephalartos paucidentatus
Common Name: Barberton Cycad
Distribution: Eastern Transvaal
Status: Vulnerable
Cultivation: Encephalartos paucidentatus is a forest cycad,
therefore shade and sufficient moisture is essential. Sunburn and
frost damage may occur if conditions are too far from those of its
habitat. Hence, hothouse conditions is necessary for cultivation in
the Free State.
Height: 8m
Threats:
This species natural habitat has been considerably reduced in
recent years by the expansion of timber expansion of timber
plantations.
Figure: Encephalartos paucidentatus (Goode, 1984:136)
26. Encephalartos ferox     
Common Name: Maputaland Cycad
Distribution: Natal
Status: Near threatened
Cultivation: Encephalartos ferox grows optimally in semi-shaded
areas, in a sandy mixture with a good proportion of leaf mould. E.
ferox needs to be grown within greenhouse conditions, when
cultivated in the Free State. If grown in full sun, the leaves will
burn and extreme cold temperatures could damage the plant.
Height: 3m
Figure: Encephalartos ferox (Goode, 1984:140)
27. Encephalartos villosus
Common Name: Forest Cycad
Distribution: Eastern Cape, Natal & Transvaal
Status: Least Concern
Cultivation: Encephalartos villosus is a frost sensitive species, that
needs to be grown shady – moist greenhouse conditions.
Height: 3m
Figure: Encephalartos villosus (Goode, 1984:144)
28. Encephalartos cerinus
Common Name: Waxen Cycad
Distribution: Natal
Status: Critically Endangered
Cultivation: Encephalartos cerinus naturally occurs alongside a
sheer sandstone cliff in full sun, however some prefer light
shading.
Height: 1,5m
Figure: Encephalartos woodii (Goode, 1984:110)
29. Encephalartos ngoyanus
Common Name: Ngoye Dwarf Cycad
Distribution: Natal and Transvaal
Status: Vulnerable
Cultivation: Encephalartos ngoyanus is a semi-frost hardy species
that prefers slightly dry climatic conditions and should be grown in
full sun.
Height: 1,3m
Figure: Encephalartos ngoyanus (Goode, 1984:158)
30. Encephalartos caffer
Common Name: Eastern Cape Dwarf Cycad
Distribution: Eastern Cape
Status: Near threatened
Cultivation: Encephalartos caffer requires slightly acid soil
mixture, rich in organic matter with sufficient moisture. It grows in
full sun and is semi-hardy to frost. Therefore, this cycad is able to
grow in the Free State climate.
Height: 1m
Threats:
The largest surviving population of E. caffer is protected by the
Cycad Nature Reserve of the Cape Provincial Administration.
Proclaimed in 1973, this recently expended reserve
accommodates as least 300 mature plants together with a small
number of E. trispinosus and E. altensteinii. The reserve is
fenced and access is strictly controlled.
Figure: Encephalartos caffer (Goode, 1984:162)
31. Encephalartos inopinus
Common Name: Lydenburg Cycad
Distribution: Transvaal
Status: Critically Endangered
Cultivation: Encephalartos inopinus occurs naturally against steep
rocky slopes in the valleys of the Olifants and Steelport rivers.
Cultivation in the Free State needs to occur under hothouse
conditions for frost protection, as well as for a protective barrier
from illegal – cycad – collectors.
Height: 5m
Threats:
Large troops of baboons in the area regularly inspect each cycad;
as soon as a cone appears it is quickly damaged or removed.
Although the grass and bush in these valleys are burned almost
annually, most specimens of E. inopinus are out of reach of the
flames, protected by bare rock.
Figure: Encephalartos inopinus (Goode, 1984:54)
32. Encephalartos aemulans
Common Name: Ngotshe Cycad
Distribution: Natal
Status: Critically Endangered
Cultivation: This cycad grows best in semi-shade or full sun. This
species will tolerate light frost and is a fast grower when planted
in sandy soil. Encephalartos aemulans is propagated by seed and
suckers. Sow seed in river sand and place on a heated bench at
24–28ºC. Germination should start 3 weeks after sowing.
However, some seeds will take longer, especially where there is
no heat. At the one-leaf stage of development, the seedlings are
susceptible to infection by the fungus that causes damping off.
Height: 0,26 m
Uses:
In Zulu culture, most of the cycads are referred to as isqgiki–
somkhovu. This name refers to witchcraft practices, where a
person is converted into becoming a zombie and is used for
witchcraft. The cycad is planted in front of the gate of the
homestead to protect it from the evil spirit. If someone practices
any witchcraft using umkhovu, this zombie will sit on top of the
cycad, which is referred as isqgiki, which means ‘chair’, and that
is where the common name is derived from.
Figure: Encphalartos aemulans (sketched from Zondi, 2019:online)
33. Encephalartos hirsutus
Common Name: Venda Cycad
Distribution: Limpopo
Status: Critically Endangered
Cultivation: Encephalartos hirsutus can be treated much the same
as E. eugene-maraisii, E. dolomiticus, E. dyerianus and E.
middelburgensis, given that the species are related and have a
similar habitat. Like all cycads they prefer well drained soils, as
well as a modest amount of watering. Plants grow well in full sun,
and is frost resistant. Propagation occurs by seed.
Height: 3,5m
Figure: Encphalartos hirsutus (Zondi, 2019:online)
34. Encephalartos msinganus
Common Name: Msinga Cycad
Distribution: KwaZulu-Natal
Status: Critically Endangered
Cultivation: A medium-sized, glossy green cycad, that occurs in
short grassland areas on steep north-facing slopes, often
suckering from the base to form clumps. This plant grows best in
light shade or full sun. This species is frost tolerant and is a fast
grower, if it is provided with deep, well-drained soil and is watered
frequently. For the sucker to develop new roots quickly its must
be placed in warm glasshouse, this important because the rooting
occurs faster at warmer temperatures. At the one-leaf stage of
development, the seedlings are susceptible to infection by the
fungus that causes damping off.
Height: 3m
Threats and Uses:
In Zulu culture, most of the cycads are used for witchcraft
practices.This species has also become common in private
collections, but the ocurrence of the wild species has declined so
much, that this species can be considered to be on brink of
extinction and its continued existence is uncertain. The decline of
this species is partly because it was never abundant, and small
cycad populations often experience reproductive failure because
of human activities.
Figure: Encphalartos msinganus (sketched from Zondi, 2019:online)
35. Encephalartos senticosus
Common Name: Jozini Cycad
Distribution: Natal
Status: Vulnerable
Cultivation: This frost-hardy cycad prefers subtropical to warm
climates and, as in many cycad species, it appreciates being
planted in well-drained soil in sunny and partial shade areas. In
suitable conditions E. senticosus grows very rapidly, reaching an
appreciable size within 5-10 years. Therefore, in terms of the
project this species needs to be accommodated under
conservatory conditions. Seeds germinate about one year after
having been released. E. senticosus also makes a good container
decoration plant.
Height: 4m
Uses: The name of the genus Encephalartos was derived from a
Greek word for "bread in head" and refers to the floury, starchy
material in the trunk of some species used traditionally as food.
Figure: Encphalartos senticosus (sketched from Mothogane, 2011:online)
36. Encephalartos brevifoliolatus
Common Name: Escarpment Cycad
Distribution: Limpopo
Status: Extinct in the wild
Cultivation: Due to the fact that no mature species are existing
in natural habitats, very little is known about the cultivation of
E.brevifoliolatus. None the less it is represented in at least one,
possibly two, collections. It should be grown in full sun and the
normal requirements for cycads should be adhered to. Since
female cones are not known, this species can only be
propagated by removing suckers from the base.
Height: 2,5m
Threats: Removal of plants from the wild by collectors was the
main threat.
Figure: Encephalartos brevifoliolatus (sketched from Donaldson, 
2019:online)
37. Encephalartos nubimontanus
Common Name: Blue Cycad
Distribution: Limpopo Province
Status: Extinct in the Wild
Cultivation: Encephalartos nubimontanus is the fastest growing
blue leaved African cycad, more vigorous than other members of
the 'Eugene-maraisii complex', it forms clusters of offsets, handles
wetter conditions and prefers full sun. It is hardy, adaptable and
striking in appearance. As a garden subject, it is one of the most
spectacular of all cycad species and is quite adaptable in
cultivation. It thrives and grows best in filtered sun or shade.
When grown in full sun, the leaves are a little shorter and less
likely to be damaged by wind. The leaves of those plants grown in
the shade can become stretched out and damage the caudex if
they break off close to their base. It is suited to subtropical and
warm temperate regions. Frost may burn the leaves but will not
easily kill established plants.
Height: 2,5m
Threat: It was originally known from 66 plants, only 8 were
counted in a 2001 survey and none could be found in a 2004
survey despite very careful searching. The species is popular with
collectors and there has been much poaching activity in the
Limpopo Province of South Africa.
Figure: Encephalartos nubimontanus (sketched from Donaldson, 
2019:online)
38. Encephalartos woodii
Common Name: Wood’s Cycad
Distribution: Natal
Status: Extinct in the wild
Cultivation: Encephalartos woodii in cultivation one of the more
rapid growing cycads. Sufficient moisture and rich soil conditions
is required for optimal growth. In hot and dry inland areas, light
shade is required to prevent sunburn.
Height: 6m
Threats:
Encephalartos woodii is extinct in the wild, due to the fact that it is
unable to produce any seed, because no female plant exists. It is
possible of course that a female plant will someday be found in a
secluded gorge, although numerous unsuccessful searches have
been made over years, or perhaps one of the many cultivated
specimens will undergo sex reversal and produce female cones.
Figure: Encephalartos woodii (Goode, 1984:110)
Giddy, C. 1984. Cycads of South Africa. Cape Town: Struik Winchester.
Goode, D. 1984. Cycads of  Africa. Cape Town: Struik Winchester
ANNEXTURE B
A STORY OF THE SUN
“In the times when it was still dark everywhere on earth, there Song: Pambe, pambe Bohopii-o-ho-pii! And they took their long
were mongooses, bat-eared foxes and jackals who all lived raisinbush sticks and played with the ball of Light, throwing it up
together in their villages of holes. Their children played with the high into the air while dancing and singing. But every time the ball
light. The Great Being, Bohopii-bohopi, saw them playing with the would fall back. Time and again, time and again the ball fell back.
light. They played the stick-game with the light into the air with The Great Being, Bohopii-bohopi, became very impatient. ‘Higher,
their sticks, but because they were only small children, they throw it up higher!’ but the women struggled to get the light higher
couldn’t throw the ball up very high. Every time the ball would fall and every time the ball would fall back to the ground.
back close by. Bohopii-bohopi then spoke to the Light, ‘Why do you, who are
Bohopii-bohopi thought to himself, ‘No, these children are playing actually Life itself, allow it that these children and women play with
with Life. They are going to cause trouble and set the world alight’. you thus?’ And to the children he said, ‘If only you could realise
Bohopii-bohopi went to his two wives and said to them, ‘The what you are doing! Run! Hide in your holes or else I’m going to
children of the Mongooses, Bat-eared foxes and Jackals are catch everyone of you and eat you. Why are you playing with
playing with the most beautiful thing’. He said this because he Life?’
knew that this thing was actually the sun. He sat down with his Bohopii-bohopi then took the very long stick which he had, flew up
wives to consider what they should do. Then they went to the to the sky and threw the ball of light up even higher to where the
village of the Mongooses, Bat-eared foxes and Jackals. On their sun is still shining from the sky today, and until this day the Jackal,
way they cut themselves long raisinbush sticks. They saw that the Mongooses and Bat-eared foxes still live in their holes all day and
children were still playing with the most beautiful thing; plating with only come out at night when it is dark.”
life. Then the woman started dancing, clapping their hands and
singing. Told by woman from Central Kalahari (Fourie, C. 1994: 12)

THE ORIGIN OF PANS AND RIVERS
“Two sisters lived together in a village. One was good and had When she was close enough to where her sister was buried, her
many children, the other was bad. The good woman went off to sister grabbed her foot and bit it hard; she bit her on the foot.
collect food and left her children with the bad sister to look after The bad aunt was startled because she thought a snake had
them. While she was away she had a bad feeling that her sister bitten her. So she started running. As she ran, she would stop and
was not going to look well after her children, so she returned run her foot on the ground and in the sand to try and rid herself of
home. While she was away, her children saw that their aunt was the poison of the snake which she thought had bitten her, and
unkind to them; she didn’t feed them and they told their mother, then she would run on again, and stop and rub. Every time she
‘Our aunt never gave us food. She said we were ugly, ‘You are rubbed her foot on the ground, a pan occurred. But she kept on
ugly and you are too many’ our aunt said.’ running until she was so tired that she dropped to the ground. In
Then their mother decided to see for herself how her sister was her exhausted state she still panicked so much that she kept on
treating her children. She said to herself, ‘I have to find out why dragging herself across the sand and the dragging marks made
my sister is such a bad women. I’ll bury myself in the sand just like deep furrows in the sand which eventually became riverbeds. She
a puffadder does and nobody will see me.’ crawled on and on until she dropped dead, and that is how pans
Thus did she hide herself. Then she told her children to sing and and riverbeds occurred.”
dance a very good song. Their aunt came closer and closer to
listen, to watch and to dance too. She started dancing together Told by woman from Central Kalahari (Fourie, C. 1994: 50)
with the children. She danced closer and closer to the place
where her sister had buried herself in the sand. While coming
closer to her sister in the sand, the buried one would hiss like a
snake and the aunt who dancing would leap into the air and jump
away from the spot. But once more the children would sing out
very loudly and she would dance and come closer again.

=UM =UM BOROSE
“=um / =um Borose was a gigantic old woman who filled the whole Kgabu / ane fetched his small dogs and they started nibbling her.
world. She is the one who created everything. After she had They were too small for =um =um Borose’s big hands to grab.
created it all, she swallowed it again; all the people, the Matabele, They nibbled her all over her big body; her eyes, her nose, her
the Tswana, the white people, the animals, the trees, all of it. That breasts and nipples, under her arms, her bottocks, between her
is how it happened. legs, all over; so much so that she didn’t know what to do. They
There were also two men. Ka / eledi who had big dogs and Kgabu nibbled her and nibbled her until she was dead. Kgabu / ane said,
/ ane who was small but clever. He had small dogs. ‘There she is. She is dead.” Then Ka / eledi started cutting, but he
These two men talked and argued. ‘Where have all the people was too big and strong. He also cut the people inside her. ‘No!
gone? Why is this big world so empty?’ You are killing the people. You are finishing them. Don’t think
Kgabu / ane then said to Ka / eledi, ‘You know, I’m sure =um =um because you are big and strong that you are cleverer than I am.
Borose was swallowed it all. That is why she is so gigantic. That is Give me that knife and I’ll do the cutting.’ Then Kgabu / ane
why she can fill all the earth. She must have an enormous worked very carefully cutting away small pieces at a time, and
stomach. How shall we open this big person to get out all the with each cut something else came out. Everything, even the trees
things that should be on earth? The animals, the stars, Kgabu / and animals appeared from her inside. ‘Ka / eledi, how are we
ane said that they should kill her and tear open her belly. But going to get the things of the sky? Let’s take these truffles and
how? roast them to eat.’ They made a fire and started roasting the
‘Ka / eledi, you have big digs, but they approached =um =um truffles, but suddenly Kgabu / ane grabbed the truffles from the fire
Borose, she grabbed and swallowed them one-by-one. Then she and threw them high up into the sky, and they became stars. The
lay down again. truffles that fell back all started growing and became veldkos.
After that Ka / eledi said, ‘Kgabu / ane, fetch your small dogs, so Thus, it happened that people had enough to eat from the veld
much easier for her to swallow my small dogs. But we shall see. and that the stars are shining from the sky.”
I’ll go and fetch them.’
Told by man from Eastern Kalahari (Fourie, C. 1994: 58)

ANNEXTURE C
ANNEXTURE D
RAINFALL FORECAST:
Figure 10: May – September 2019 rainfall – days forecast for high and low number of rainfall days exceeding 5 and 15mm 
without skill taken into account. (South African Weather Service, 2019: 15 – 17) 
PRECIPITATION 
Figure 7: a)
a) Climatological average (in mm) calculated over a period of 1979 - 2009
b) May – June – July (MJJ) 2019 Seasonal precipitation prediction without
skill taken into account.
c) June – July – August (JJA) 2019 Seasonal precipitation prediction without
skill taken into account.
d) July – August – September (JAS) 2019 Seasonal precipitation prediction
without skill taken into account.
(South African Weather Service, 2019: 5 – 7)
b) c) d)
MINIMUM TEMPRETURE
Figure 8:
a)
a) Climatological average calculated over a period of 1979 – 2009
b) May – June – July (MJJ) 2019 Seasonal minimum – temperature
prediction without skill taken into account.
c) June – July – August (JJA) 2019 Seasonal minimum – temperature
prediction without skill taken into account.
d) July – August – September (JAS) 2019 Seasonal minimum – temperature
prediction without skill taken into account.
(South African Weather Service, 2019: 8 – 10) 
b) c) d)
MAXIMUM TEMPRETURE
Figure 9:
a)
a) Climatological average calculated over a period of 1979 – 2009
b) May – June – July (MJJ) 2019 Seasonal maximum – temperature prediction
without skill taken into account.
c) June – July – August (JJA) 2019 Seasonal maximum – temperature prediction
without skill taken into account.
d) July – August – September (JAS) 2019 Seasonal maximum – temperature
prediction without skill taken into account.
(South African Weather Service, 2019: 11 – 13) 
b) c) d)
231
ANNEXTURE E
233