Fig 1: Memory of woodcutter (author, collage) The Forgotten Pursuit A Carpentry Centre in Karatara welfare settlement forged from the memories of woodcutters. Taline Roos | 2018176442 M.Arch (Prof) Dissertation 2023 2 3 THE FORGOTTEN PURSUIT CARPENTRY CENTER DECLARATION This document contains the Master Design Dissertation made and submitted by the applicable guidelines which are required for the March (Prof) degree. All work within this document is created by Taline Roos and all sources are acknowledged. Student information: Taline Roos l 2018176442 l roostaline@gmail.com Department of Architecture, Faculty of Natural and Agricultural Sciences University of the Free State Supervisors: Prof. JD Smit, Mrs. P. Smit, , Miss. O. Mosidi. Date of submission: 13 October 2023 Declaration of original authorship: I know that plagiarism is wrong. Plagiarism is creating the impression that someone else’s work is my own. Every contribution and quotes from other sources in this essay has been acknowledged in the reference list. This dissertation is my own work. I have not copied it, nor will I allow that anybody copy it. Signature: Taline Roos ……………………………………………………………….. Date:……………………………………………………………………………………… 4 5 Orepa Mosidi Gert Wessels Philip Caveney Mrs Charka God (My supervisor) - Her words of encouragement, guidance, and advice kept me motivated throughout the year. Allowing and encouraging me to construct a thesis in my own way using my strengths. Being there whenever I needed it. (significant other) – Lending his ear as I spoke to him about my process and giving advice. (chairperson of the Knysna Historical Society also the author of Karatara: A story of poverty, people and plantations) – Meeting up with me and telling me great stories of Knysna and the woodcutters. (My English High School teacher) - For proof reading my document. (The God)– For my talent, motivation and keeping me strong. Acknowledgements 6 Fig 2: Karatara locals (Collage). 7 The 'Forgotten' does not refer to Karatara as a forgotten place or a place given to people who were meant to be forgotten. It is about the municipality's efforts towards the place that has become forgotten. It's about the goals and dreams that have deteriorated over the years. Karatara, as described by the locals in interviews, used to be a beautiful place with 'order'. In Karatara: A story of poverty, people and plantations, Philip Caveney writes that he was surprised at the lack of available information regarding Karatara, “almost as if it was intended for the settlement to be forgotten.” (Karatara, A story of people & plantations, 2016) 8 Fig 3: Lives of woodcutters (Collage). 9 This project embarks on an exploration and interpretation of the memories and narratives carved by the woodcutters and plantation laborers of Knysna. These memories serve as the foundation for the design of a carpentry centre, intended as a means for the upliftment of the welfare settlement, Karatara situated in the Western Cape. Many settlements near Knysna were established to address the forestry and welfare needs of the timber industry. The resulting question of this thesis: How can the creation of a Carpentry centre in Karatara be approached through the lens of recalling memories, archetypal references, and their integration within the existing community? This methodology seeks to delve deeper into the essence of place by investigating its historical underpinnings, with the aim of not only enriching the collective memory of Karatara but also anchoring this transformation through archetypal associations. This endeavour aspires to restore a sense of pride and ownership in a settlement that stands as a remnant of large industrial exploitation. In order to grasp the essence of Karatara, this research includes investigative approaches such as; personal stories, interviews, books and contemporary interpretations informed by the visual cues derived from collective memories of Karatara. Abstract 10 Research approach This thesis is the result of extensive testing and exploration of various theories and ideas to arrive at a well- considered conclusion. Over time, the project evolved through systematic testing and refinement. Each section starts with a clear statement of the final decision. The approach emphasizes design through testing and experimentation, leading to many developments. It is noteworthy that this document's structure deviates from the conventional thesis format, prioritizing the chronological sequence of the project's evolution over the organisation of ideas. This unconventional approach aligns with the belief that the journey of creation is as significant as the final product. The chronological sequence of the project is implemented through the three experiments with the last experiment being the final design. The purpose of documenting the changes and developments within this project is to provide valuable insights into its evolution and to emphasise its vital role in shaping the final outcome. Fig 4: Testing and experimentation (Author). 11 The maker approach Maker culture emphasises the importance of acquiring knowledge through hands-on experiences which includes woodworking (Fiore, Montresor & Marchese 2021). The maker's approach finds profound relevance within the context of this design endeavour. The extensive testing and systematic refinement of the project underscore the essence of hands-on creation and iterative design, emblematic of the maker's philosophy. This methodology, emphasising experimentation and innovation, serves as a robust framework to continually enhance the project. The departure from conventional document structure, in favour of a chronological representation of the project's evolution, resonates with the maker's ethos, spotlighting the value placed on the creative journey. Furthermore, the meticulous documentation of alterations and developments within the project imparts valuable insights, strengthening the argument for the vital role this approach plays in shaping the project's final outcome. In essence, the maker's approach enriches this design process, fostering adaptability and innovative problem- solving skills that are indispensable for the project's ultimate success. Fig 5: makers approach extensive testing (Author). 12 CONTENTS Declaration Preface Abstract Research approach Dissertation contents 1. Grounding essay 1.1 Introduction 1.2Essence of project (touchstone) 1.2.1 introduction 1.2.2Reversed sawmill 1.2.3 Architectural insights 1.3 Theoretical underpinning 1.3.1Experience architecture through memory & senses 1.3.2 Memory time capsule 1.4 The Woodcutters 1.4.1 Introduction 1.4.2 woodcutter’s early 1800’s to late 1900’s 2. Three Experiments 2.1 Introduction 2.2 Contribution of experiments to final design 3. Experiment 1 3.1 Contents 3.2 Introduction 3.3 Climatic conditions 3.4 Site context 3.4.1Western Cape, South Africa 3.4.2Garden Route National Park 3.4.3Knysna, South Africa 3.5 History of Knysna: Melkhoutkraal 3.6 Site date 3.7 Conceptual planning 3.7.1 introduction 3.7.2 conceptual inspiration 3.7.3 connection between forest and city i ii iii Iv 14 16 18 18 19 20 21 21 22 24 24 25 26 26 27 28 28 29 31 32 32 33 34 35 36 38 38 39 40 3.8 Concepts 3.8.1 Lessons 3.8.2 Tools 3.8.3 Joints Conclusion Reflection 4. Experiment 2 4.1 Contents 4.2 Introduction 4.3 Karatara origins 4.5 Site context analysis 4.5.1 Macro site analysis 4.5.2 Messo site analysis 4.6 Site location 1: Timber Factory 4.6.1 Micro analysis 4.6.2 surrounding buildings 4.7 Site location 2: Carpentry Centre 4.7.1 Micro site analysis 4.7.2 Surrounding buildings 4.7.3 Wo(man) - Nature 4.7.4 The gap in the forest canopy 4.7.5 Theoretical planning 4.7.5.1 Introduction 4.7.5.2 Two sites and a theory 4.8 Design Development 4.8.1 Site 1: Timber factory 4.8.1.1 Translating the theoretical approach 4.8.1.2 Precedent study: Tofu Factory 4.8.1.3 Plan development 4.8.1.4 Elevations 4.8.2 Site 2: Carpentry Centre 4.8.2.1Translating the theoretical approach 4.8.2.2 Forest canopy 4.8.2.3 Plan development Conclusion Reflection 41 41 44 46 48 49 50 50 51 52 54 54 56 58 58 60 64 64 66 72 74 76 76 77 78 78 79 80 82 84 88 89 90 92 96 97 13 5. Experiment 3 (Final Design) 5.1 Introduction 5.2 Forest tale 5.3 Site location 5.3.1 Proposed site 5.3.2 View of site 5.4 Conceptual planning 5.4.1 Introduction 5.4.2 Theoretical precedent: Plato—The allegory of the Cave 5.4.3 Concept 1: Memory Palace 5.4.4 Concept 2: Architectural Metonymy 5.4.5 Concept 3: Community Engagement Conclusion 6. Design development of final project 6.1 Contents 6.2 Introduction 6.3 Client & Brief 6.4 Accommodation list 6.5 Organized areas & functions 6.6 Typical carpentry factory process 6.7 Stages of design development 6.7.1 Model 1 6.7.2 Model 2 6.7.3 Model 3 6.7.4 Model 4 6.8 Final model (Final design) 6.8.1 Introduction 6.8.2 Bird’s-eye view: Spatial arrangement 6.8.3 Context plan 6.8.4 Floor plan 6.9 Main axis & courtyard space 6.9.1 Precedent study: Lixiang Village 6.9.2 Entrance to building 6.9.3 Spatial development of Courtyard 6.9.4 Precedent study: Allmannajuvet Rest area 6.9.5Elephant Haven 6.9.6 Final destination 6.9.7 Forest appreciation pavilion 6.10 Reception & Hardware shop 6.10.1 Precedent study: Shibori Office 21 6.10. 2 Spatial development of Reception & offices 6.11 Educational Carpentry & Giftshop 6.11.1 Spatial development 6.12 Carpentry Factory 6.12.1 Spatial development 6.13 Cafe 6.13.1 Precedent study: Barcelona Pavilion 6.13.2 Spatial development 6.14 Meaning of the joint Final conclusion Final reflection References 98 99 100 101 102 103 104 105 106 108 110 112 114 116 116 117 118 119 120 121 122 123 131 137 143 149 150 151 152 153 155 156 158 159 162 164 166 169 171 172 174 177 178 181 182 185 186 189 191 196 197 198 14 Grounding essay contents page Fig 6: Grounding contents (Author). 15 1. Grounding essay The grounding essay will investigate the history of woodcutters and this will deal with the essence of this project. This historical inquiry offers insights into the transformation of Knysna over time and the growth of various settlements linked to the timber industry. The study investigates the memories of woodcutters and how it could be interpreted today. As the exploration of Knysna and its woodcutters unfolded, the project unveiled numerous insights, prompting corresponding adaptations and evolutions. The project celebrates the journey and its process. To aid in understanding this document, it has been organised into three distinct experiments (figure 6). The theoretical approach in each experiment aimed to include the history of woodcutters. The concepts in the first experiment derived from narratives about the woodcutters. The concepts in the second experiment were much more site related. In the third experiment, the concept was changed to focus on remembering the history of woodcutters through the method of loci. The final proposed project is in Karatara close to Knysna in the Western Cape. Each experiment has its own site analysis in conjunction with the chosen site which provides a deeper understanding of the woodcutters. Karatara is one of the settlements that started solely because of the timber industry. Establishing a carpentry factory in Karatara, inspired by the woodcutters, aims to foster a unique identity for the small town while simultaneously generating employment opportunities. This ignited an architectural intervention aimed at integrating the narratives of the woodcutters, allowing visitors to engage with their stories. The program is based on the process wood follows to become a finished object. There are also additional functions that support this project. 16 In the mysterious forest of Knysna we find the woodcutters who lived, worked, and explored there. The forest became their home which they would occasionally leave to sell their wood. It was the only place they knew. Woodcutters were exploited for their hard work and had to sell a lot of timber to make an income for themselves. The rate at which timber was being harvested had a serious impact on the forest, leading to deforestation. It became clear to woodcutters and timber merchants that these forests could not last forever. In the 1880’s the forests became prey to overcutting. Woodcutters had to register for their rights to fell trees and there after they were removed from the forest. 1.1 Introduction In 1917 the Department of Forestry initiated a housing scheme in order to solve the housing problem. The housing was located near forestry stations so that plantation workers lived close to their work. It is true that saving the forests is a critical matter, however it seemed that the woodcutters’ and plantation workers’ lives were not that important. Just like woodcutters, plantation workers worked under extreme conditions for the European laborers. Strict rules governed their day-to-day lives, such as not being allowed to own a car or being required to work six days a week with two afternoons off, allowing them time to attend to their gardens (P,Caveney: 2016). 17 In 1922, Karatara was proposed as a new labour settlement for plantation workers and construction would follow shortly after. Two years later, a decision to place registered woodcutters in the George & Knysna Settlements was introduced. A small portion intake was made up of indigent farm squatters and some woodcutters from the Knysna area. In 1941, Karatara was planned as a social welfare settlement (P Caveney, 2016, p17). Allocations of new cottages were given to fit and able Karatara plantation workers (Forestry need) and to old and disabled woodcutters and plantation workers as well as their families (Welfare need). There were many plans for the development of Karatara. Most plantation workers were not previously woodcutters. The settlement of Karatara became simply a location where disabled woodcutters and plantation workers migrated to. From personal interviews it seemed there was a time that the people of Karatara were very proud of their town and their own gardens that they carefully tended. They still enjoy living there and will continue to do so for a very long time. Throughout the interviews, it became clear that there is a sense of pride that faded due to lack of care and support from the municipality (personal communication, April 2023). Fig 7: History of Knysna (Author). 18 1.2 Essence of project 1.1 Introduction In Kringe in `n Bos, written by Dalene Matthee, the protagonist, Saul Barnard walked back into the forest, after leaving his home behind. He felt like he was moving back in time. Reliving his past. He was overwhelmed by all the memories he experienced. Suddenly he was 14 again, cutting the Kalander tree and coming across a big elephant, Ou Poot (Kringe in `n Bos, Dalene Matthee). The mental images submerging were tied to a specific location that Saul Barnard knew. These places, which was of significant meaning to him, had a powerful effect on his memory and became tied to specific events, emotions, or experiences. His surroundings allowed his memories to resurge and were connected to elements he encountered (figure 9). It acted as a catalyst that brought these memories to light. Figure 8 is another example to illustrate how one can see an axe and be reminded of cutting down a specific tree that was of importance once. This inspired the creation of a touchstone, focused on evoking memories from the past. Fig 8: object igniting memories (Author). Fig 9: Walking into your memories (Author). 19 The reversed sawmill (figure 10) aims to bring elements together as apposed to cutting it in pieces. It captures the essence of historical sawmills, taking visual cues from its form to its vertical movement. One can identify the archetypal elements of an historical view in this touchstone. When focusing on the inherent meaning and not the physical object itself, the touchstone becomes an object with symbolic qualities. Drawing upon the past, we can craft an envisioned space for these stories, offering people the chance to encounter them. These tales, plucked from history, are preserved and shared. Vital elements are anchored to visual cues, woven together to form a contextual narrative—a journey through physical space. The idea of the reserved sawmill is to capture the elements of the memories of woodcutters and plantation workers to create a unified image. The fragmented memories of woodcutters and plantation labourers are strung together into a whole. 1.2.2 Reversed sawmill Touchstone Fig 10: Reverse sawmill model (Author). 20 Touchstone 1.2.3 Architectural insights After making the touchstone, it is analysed for possible design ideas. The touchstone, which is inspired by a sawmill, revealed that it has many parts and connections throughout the structure. There are many joints and different materiality that connect which could be explored in the design. Fig 11: sawmill typology (Author). Fig 13: joints in sawmills (Author). Fig 12: Perspective of sawmill (Author). 21 The section through the ‘reversed sawmill’ (figure 16) revealed that there is a process occurring throughout the object. This linear quality could be explored in the design (figure 15). Fig 16: section of sawmill (Author). Fig 15: sawmill transforming into architecture (Author). Fig 14: top view of sawmill (Author). 22 1.3 Theoretical underpinning 1.3.1 Experience architecture through memory and senses In Peter Zumthor’s book “Thinking Architecture”, he talks about the first time he experienced architecture in his childhood without thinking about it. He explains that “I can almost feel a particular door handle in my hand, a piece of metal shaped like the back of a spoon” (P. Zumthor, p9). Peter Zumtor articulates how his architecture is derivative from his memories. Usually, only architects understand the deeper meaning behind some architectural elements. Others who are not acquainted with the profession understand it through their own experience of it. Similar to what Peter Zumthor said, he experienced it “without thinking about it”. His memories of architecture were deeply rooted in how he experienced these spaces through his senses. Memory isn't only something that happens in our brains, but could also be products of our experiences with buildings and physical spaces. While buildings themselves cannot remember, they can become reminders which holds many memories. When we enter these buildings, we are reminded of things that occurred. These references we receive by the mind transforms our sensation of the structure into a memory. Maybe we can use references to design a building which can remind the users of the woodcutters. Fig 17: Experiencing a place (Author). Fig 18: architecture igniting memories (Author). 23 Theoretical underpinning 1.3.2 Memory time capsule The past provides us information that we can become inspired by. We can recollect architectural works and imagine how it can be recreated in architecture. Our experience of architecture is rooted in a deeper understanding of references. Architectural works are not made by only one person. It is a combination of many memories built up over years of time, even if it is done unintentionally. We are continuously learning from our past to create structures for the future. We are evolving. In ‘Entreties sur l’Architecture’, Viollet le Duc, French architect and writer states; “In architecture, there is no invention ‘ex- nihilo’ (out of nothing). We must necessarily have recourse to the past to originate to the present” (Euge ne-Emmanuel Viollet-le-Duc, 1863). (Lecture VI, 173). Imagination becomes crucial because we use this in conjunction with our references and concepts to transform these ideas into architecture. In turn, when we look at architecture our imagination allows us to reveal the meaning in these structures. We learn from things that happened in the past and do things for the future based on what we have learned. When we preserve memories and displace them in another time and place, it acts as a time capsule. Similar to how we all know what figure 20 illustrates. Our imagination allows us to group these different elements and discern that this is a tree. Fig 19: column archetype (Author). Fig 20: familiar symbols (Author). 24 1.4. The Woodcutters 1.4.1 Introduction Woodcutters lived in extreme poverty and crude huts. They were ‘prisoners of their culture’ who could not (or would not) adopt to a modern economy. They were trapped by work that nearly tore the muscles off a grown man’s back as well as by an economic system that made the woodcutters slaves to the English wood buyers. John Barrow, Secretary to Cape Governor George Macartney, wrote in 1797: “…the only class of people, in the whole colony, that deserve the name of being industrious. To fell the large trees… and then to drag them out, is a work of labour and toil; and their profits are so trifling…” (Hjalmar Thesen 1974). In Hjalmar Thesen’s book Country Days he writes about the woodcutters; ““The Woodcutter’s day started with the sun. He would either walk the few miles of forest trail to the tree upon which he was working or wake up beside it to the smell of a smouldering ironwood fire and old ash and the clean scent of fresh wood-chips. Soon there would be the fragrance of coffee and tobacco smoke and then, with the first shafts of sunlight, the ringing of axes would begin again. A man and his sons might spend as long as a month working a giant yellowwood or stinkwood tree.” (Hjalmar Thesen 1974). Woodcutters were tough. They lived with a sense of pride and stubbornly clung to their independent lives in the forest rather than to be relocated. The forest was their home. It was the place they knew best. Fig 21: Woodcutters waiting for timber merchant (Knysna museum). 25 1.4.2 Woodcutters early 1800’s to late 1900’s Industrial-level exploitation started in Knysna when George Rex bought Melkhoutkraal in 1804. Rex owned 33 slaves and had a license for 400 woodcutters by 1811. In 1834, slavery had been abolished but remained apprenticed for four more years. By the late 1800’s the forest was being cut down faster than it could replenish itself. Conservation measures were put in place to regulate and minimise the exploitation of the forests. This was already too late, and a lot of damage had been done. By the early 1900’s an alternative to felling trees were proposed. Exotic trees grow much faster and put less stress on native trees. Woodcutters had to register to be able to purchase trees for felling (fig 20). This made the woodcutters’ lives more difficult as they were already being paid next to nothing. To make their lives even more dif- ficult, the woodcutters’ rights to cut down the trees was nullified in 1939. Woodcut- ters received a small pension. Fig 20: License to cut and remove trees (Knysna museum) Fig 22: timeline of Knysna 1 (Author). Fig 23: timeline of Knysna 2 (Author). 26 2. Three Experiments This project consists of 3 different experiments, with the third experiment being the final design. Each experiment is vital to the transformation of the project. As stated before, the document addresses the process of the project in chronological order. The ‘3 experiments’ is a way to organise the sequence of the different ideas and where the most important points of change occurred. At the conclusion of each experiment, there is a reflection on the process and an examination of why the project needed to change. The diagram (figure 24) shows how each experiment consists of different theories. When the project relocated to a different site, it was necessary for the theory to change as well. Figure 24 illustrates the main ideas each section is made of, but there is still an overlap of ideas in some cases. There was something to be learned at each experiment and ideas were kept even if a different experiment initiated. 2.1 Introduction Fig 24: Diagram of experiments (Author). 27 Fig 25: Diagram of contributions from experiments (Author). • Experiment 1: This initial experiment, located in Knysna, Western Cape, explores the relationship between nature and human activities. It provides a broad understanding of this connection and introduces the idea of timber-related activities in both forest and city settings. Experiment 1 lays the foundation for a macro-level analysis. • Experiment 2: In this phase, the project shifts to Karatara, still within the Western Cape. Experiment 2 delves deeper into the unique dynamics of Karatara, with a focus on how the forest and city areas work together, inspired by the natural growth cycle of forests. This experiment provides a messo and micro analysis of Karatara. • Experiment 3 (Final project): Experiment 3, located in Karatara, is the culmination of the research process. It focuses on a specific site analysis for the Carpentry Factory and incorporates the history of woodcutters into the design concept. This experiment integrates insights from the previous experiments, resulting in a contextually rich and conceptually grounded final project. 2.2 Contribution of experiments to final design City & Forest Macro site analysis Forest cycle Messo & micro site analysis Deep understanding of proposed site 28 3.1 EXPERIMENT 1 SITE ANALYSIS SITE DATE THEORETICAL PLANNING CONCLUSION REFLECTION 29 Experiment 1 The first experiment is located in Knysna, Western Cape. Two sites for this project are chosen. One within the serene forest and other nestled within the town. This experiment explores the relationship between the natural and urban environment and how these contrasting environments could theoretically harmonise. The theme of this experiment centres on forest memories, seeking to capture the moments within the forest and reflect them in the city. It is done to foster a symbiotic relationship between nature and humanity. This exploration will be conducted through extrapolating concepts from narratives in the forest and its effect on the city. 3.2 Introduction Fig 26: Diagram of experiment 1 (Author). 30 Fig 27: Knysna forest (Author). 31 3.3 Climatic conditions Knysna, Knysna municipality Macro analysis General description Temperate coastal Oceanic (marine) climate Summer Average high temperatures Warm to hot summers with average humidity and strong winds (Weather Atlas, 2023: online). Fig 28: coastal area (Author). Winter Mild temperatures with medium to high humidity Rainfall Rainfall volume presents a diverse spectrum. Constant rainfall in winter Rain in summer possible 32 Fig 29: Western Cape (snazzymap; 2023: Author adaptations). including valuable species like yellowwood and stinkwood. These settlers initiated timber harvesting for various purposes, such as shipbuilding and construction. These forests were harvested at a faster rate than it could replenish itself. Many conservation methods were set in place and in 2009 the Garden Route was established which protected this area (Joubert, 2018). 3.4 Site context 3.4.1 Western Cape, South Africa Western Cape is a coastal province located in South Africa, bordering the Indian and Atlantic oceans. Compared to the other eight provinces in South Africa, the Western Cape draws in millions of visitors in each year (SA-Venues 2019). The timber industry in South Africa's Western Cape began in the 18th century when European settlers recognised the region's abundant indigenous forests, 33 Site context 3.4.2 Garden Route National Park Fig 31: SANPark Logo (sanparks, 2023: Online). The Garden Route runs parallel to the coastline which starts in Mossel Bay and ends at Storms River and is one of South- Africa’s most popular holiday destinations (SA-Venues 2019). The vision outlined by SANParks for the Garden Route focuses on the integration of a protected area to preserve interconnected terrestrial, freshwater, estuarine, and marine ecosystems, along with landscapes and cultural heritage. (SANParks, 2012: Online). Fig 30: Knysna area and garden route (snazzymap; 2023: Author adaptations). 34 Knysna is situated between George and Plettenberg Bay. This town is surrounded by a beautiful natural environment. The lush indigenous forests played an important role in Knysna’s rise to fame particularly in the timber trade. Due to its beautiful surroundings and scenic landscapes it is a very popular vacation destination. This narrow coastal strip of indigenous forest in the Southern Cape, was the main source of income for generations of woodcutters, Knysna being the principal town as far as the timber industry was concerned. Until well into the 20th century the entire economic life and structure of Knysna revolved around the timber trade (Knysna Woodcutters 2017). Site context 3.4.3 Knysna, South Africa Fig 32: Knysna and forest (snazzymap; 2023: Author adaptations). 35 3.5 History of Knysna Melkhoutkraal Melkhoutkraal, located in Knysna, holds a significant place in history. The earliest recorded history of Knysna traces back to 1760, when Stephanus Jesaias Ter Blans became the first settler in the region. He established the farm Melkhoutkraal in 1770, situated along the eastern bank of the Knysna River. This vast farm extended from the shores of the Indian Ocean to what is now Long Street (M 2022). In 1805, George Rex bought and resided on this land, ultimately becoming the town's founder. Recognising Knysna's immense timber potential, Rex played a pivotal role in shaping the town's destiny. As a result, Knysna rapidly gained fame as a hub for the timber trade. Fig 33: Melkhoutkraal (J. Schuacher, 1778: Painting). 36 Fig 34: Collage of site date experiment (Author). 37 The site date is an intimate site analysis executed in Knysna which allowed unexpected events to arise. The goal of the site date was to experience the site in a different way. Woodcutters would use a twine to ensure that they saw wood straight. They would cover the twine with charcoal and when released onto a log, would leave an imprint of charcoal. This project explores the nature between the string and objects. The device is placed onto chosen objects on site. A string covered with charcoal is attached to the device which allows the user to pull the string. 3.6 Site date The nature of things However, there is a piece of paper below this device which catches the residue of charcoal. The essence of the action between string and object is left behind on a piece of paper (figure 35). It is not the replication of the string or the object nor the replication of the action that is important. It represents this action in a different manner by capturing the spirit of the event. Through experimenting with a certain effect, a realisation dawned that every action would in turn have a reaction. This idea is utilised in the theoretical approach which has to accommodate both the forest and city. How would the design in the forest affect the city of Knysna and vice versa? BRICKS BRICKS TREE STREET PAVEMENT Charcoal residue: Fig 35: Residue of charcoal (Author). 38 FOREST CITY 3.7 Conceptual planning 3.7.1 introduction The conceptual approach is extracted from a narrative. The concepts try to connect with the rituals of the woodcutters. The three concepts ‘lessons’, ‘tools’ and ‘joints’, are translated in an architectural methodology such as, ‘narrative’, ‘typology’ and ‘form and function’. Lessons (narrative) revolve around the concept of transformation. Tools (typology) serve as guiding instruments aiding in the design process by providing references. Joints (form and function) deal with articulation of different elements and understanding their underlying reasons for coming together. Fig 36: Conceptual planning diagram (Author). 39 3.7.2 Conceptual inspiration L es so n s (t ra n sf o rm at io n ) Jo in ts (a rt ic u la ti o n ) Narrative In this book the main character, Saul Barnard learns lessons to survive against the dangers of the forests. The superstitious woodcutters never utter the word ‘elephant’ for the fear of angering the animals, but with the arrival of manhood, he also learns what it means to be trapped by the superstition that makes the word ‘elephant’ taboo, by work that nearly tears the muscles off a grown man’s back and by an economic system that make the woodcutter slaves to the English wood buyers. After many years of exploiting the forest, the woodcutters couldn’t see the Knysna forest for the trees and the wood buyers only saw gold. Woodcutters used tools to create a life for themselves. The instruments they had available unlocked possibilities and allowed them to form their daily rituals. Instruments assist us in understanding and making sense of the world. It is a tool which we can use to manifest reality. Woodcutters would have to transport the wood they cut into the city to try and sell it. For Saul Barnard, this was a very uncomfortable experience, and he would wish to return to the forest immediately. Figure 37 illustrates the conceptual models which will be examined in the following pages. Kringe in n Bos written by Dalleen Mathee is a re-creation of the primitive world of the Dutch woodcutters who worked in the forests of South Africa’s Cape during the 10th century. A narrative of woodcutters derived from this book is used to extrapolate conceptual approaches. C o n ce p ts d er iv ed fr o m t h e n ar ra ti ve T o o ls (g u id in g in st ru m en t) Fig 37: conceptual models (Author). 40 3.7.3 Connection between forest and city Two distinct sites have been chosen in Knysna, one nestled within the forest and the other situated in the city. It is important to find a way that these two sites could resonate with one another. The timber factory is set to be situated amidst the forest, while the carpentry centre finds its place in the heart of the city. It is evident that Knysna's forest has profoundly influenced the development of the city, shaping it into what it is today. The stories and wood sourced from the forest have become integral components of Knysna's identity. The theoretical approach aims to adapt to the unique characteristics of both sites. In figure 39, the concepts attributed to the forest are depicted in group A, while group B represents the city and are inverted versions of the original sketches. Group A emphasises what each image conveys, while group B uses the original sketches as a point of reference, illustrating the effect that this image has on its surrounding. This serves as a means to establish a connection between the city and the forest. Fig 38: connection between forest and city (Author). 41 Lessons (transformation) Tools Joints Forest - GROUP A City - GROUP B Fig 39: visual diagram explaining connection between forest and city (Author). 3.8 Concepts 42 The concept “lessons” can be translated to architectural transformation. Just like the superstitious beliefs of woodcutters there are some architectural conventions that can be shattered and challenged. A desirable end in this structure would promote harmony between human habitation and the natural world. Figure 40 illustrates a transformation happening from a basic layout. The transformation is not independent from its original source. 3.8.1 Lessons Transformation Figure 41 is an inverted image of figure 40. This is done for every concept to illustrate a opposite reaction. This is done to create a connection between two sites. The transformation of architectural explorations in the forest can be placed in the city and the effect of this could promote certain design opportunities. Fig 40: Transformation (Author). Fig 41: imagine extending directives (Author). 43 The concept model illustrates a transition happening. Each layer becomes more evolved from its previous layer and become more connected with the base it rests upon. The idea is to show how the evolving images do not just evolve from its own nature, but also becomes more connected with its surrounding. Fig 42: Lessons model (Author). 44 3.8.2 Tools Guiding instrument The concept shows the act of using a tool. The tool that we use fades, and the act of revealing is expressed using the tool. Techne reveals whatever does not bring itself forth and does not yet lie here before us. This revealing gathers together the different aspects in advance with a view to the finished vision as completed, and from this gathering determine its construction. This concept tries to reveal the narratives created in the forest and bring forth the existing identities. This could lead to finding a tool for studying the forest and guiding the poesis (truth). The inverted image show how the darker part of the image creates guidelines outward and focuses on the effect that it creates, rather than the image itself. Things such as design resolutions reached in the forest could become a starting point and a guideline to use in the city. Fig 43: guiding instrument (Author). Fig 44: imagine extending directives (Author). 45 The concept model acted as a ‘pit saw’, which was used horizontally to cut lumber in the forest. The idea is to carve a piece of charcoal on the blade and pieces would fall onto the piece of paper. The paper is dragged through a narrow opening which smudges the charcoal onto the paper and leaves a print on it. This model tries to show the effect a tool can have on things when using it. Fig 46: tools model (Author). Fig 45: pit saw (Author). 46 The concept of joinery become important when dealing with two sites with heavy contextual clashes which sit in juxtaposition to one another. In the forest, the goal is to capture the narrative that existed there and honour the environment. In the city the goal is to capture the memory of the forest and promote harmony between nature and city. A way in which this could be achieved is to address these fragile contextual issues with an architectural intervention that acts like a joint on multiple theoretical levels, furthering our understanding of how architecture can contribute to the landscape, establishing a narrative between two conflicting conditions. 3.8.3 Joints Articulation The inverted image shows how the joint then in turn responds to the surrounding. The joint tries to reach out to the surrounding. Fig 47: Articulation (Author). Fig 48: imagine extending directives (Author). 47 The concept model was an exercise of creating different joints and how these joints were used together. The base consisted of a dovetail joint carved out of the wood and a connecting piece made of plaster of paris. Fig 49: Joints model (Author). 48 Conclusion of Experiment 1 Experiment 1 initiated the search for an appropriate site offering a macro analysis of the area from which the final site derived. The theoretical planning opened the conversation of using these 49 After deciding that Knysna was the chosen site, an intimate site analysis and formation of conceptual ideas followed which concludes experiment 2. A specific site was never chosen because before finalising the site in Knysna, the decision to relocate the proposed site to Karatara had already emerged. This does however still give a good overview of the timber boom in order to understand the start of the Karatara welfare settlement. It became clear that today, Knysna may not be the most appropriate site when dealing with the social issues that resulted from Knysna’s timber boom. This is because Knysna became such a large tourist centre and there are plenty of opportunities for more expansion. Knysna houses many historical stories, and it is because of Knysna that we had this history and experienced woodcutters. However, there are still other settlements that suffer under the consequences of the timber boom. It became a choice between further praising Knysna for its forests and the woodcutters or assisting the remnants that occurred because of the timber boom and its attempts to resolve the exploitation of Knysna’s forests. This led to the investigation into a settlement close-by, Karatara. This project shifts from being focused on wood crafting to a social and community upliftment in the welfare settlement. REFLECTION 50 4. EXPERIMENT 2 SITE ANALYSIS THEORETICAL PLANNING DESIGN DEVELOPMENT x2 PRECEDENT STUDY CONCLUSION REFLECTION 51 4.2 Introduction Experiment 2 involves the establishment of a Timber Factory and Carpentry Centre within separate sites in the welfare settlement of Karatara. As with Experiment 1, it continues the exploration of the relationship between natural environments and man-made structures. This phase entails a comprehensive analysis of the proposed site and its surrounding infrastructure. Furthermore, Experiment 2 delves deeper into the interplay between the Timber Factory and Carpentry Centre. The theoretical framework, developed from a site-specific perspective, elucidates the conceptual and practical interconnections between these two structures and draws parallels to natural forest processes. This conceptual foundation serves as the basis for initial design development stages. Fig 50: Diagram experiment 2 (Author) 52 The Department of Forestry initiated a housing scheme in 1917 to create European Settlements for plantation workers, situated conveniently near forestry stations. This was not specifically aimed at improving the living conditions of woodcutters. 4.3 Karatara origins Initially using surplus war tents and huts, they later transitioned to sod hous- es with two or three bedrooms, dining areas, kitchens, wooden windows and doors, and earthen floors. Eventually, these sod houses were replaced by tim- ber and corrugated iron cottages. (P, Caveney, p22). Fig 51: sod houses for woodcutters & plantation workers (P. Caveney, 2016: Book). 53 In 1922, Sir Thomas Smartt, a former South African politician, visited the George-Knysna area to finalise the location for the upcoming labour settlement in Karatara. Construction began shortly thereafter, with the majority of labourer cottages in Karatara being constructed from iron and wood (P, Caveney, p26). By March 1924, 129 families had settled in the Karatara settlement. Additionally, a decision was made to relocate registered woodcutters to the George and Knysna settlements. Fig 52: wood and iron cottage (P. Caveney, 2016: Book). 54 4.5 Site context analysis 4.5 1 Macro site analysis Karatara is a Welfare Settlement located close to Knysna and Sedgefield. Karatara is part of the Knysna Local Municipality which is also a part of the Garden Route. This settlement lies on top of a plateau and approximately 37km north-east of Knysna. It is surrounded by beautiful farmland and indigenous forests. Many years ago, woodcutters felt that they were being banished to this town. In 1939, the decision was made to close the forests in order to safeguard them from total destruction, and many woodcutters were subsequently relocated to Karatara (P, Caveney, 2016). Fig 53: location of Karatara (Author). 55 Site context analysis 4.5.2 Messo site analysis Karatara is part of the famous Seven Passes Road, which is a desired scenic tourist route. It is nestled in a forest glade. There are farms around the area where both work and residential arrangements exist for some people who travel to Karatara to find jobs. However after a personal conversation with S, Vogel on 8 April 2023, it appears that most younger people in Karatara have to travel to Sedgefield and accept low-income jobs. A large population of Karatara’s residents are pensioners. Fig 54: location of Karatara (Author). 56 Messo site analysis Main roads There is only one main road that moves perpendicular to Karatara, 'Karatara Road'. This road is also part of the Seven Passes Road (Karatara Pass). Karatara can be entered from Segdefield or Knysna’s side. Karatara and Bosbou settlement The area is made up of Karatara Welfare Settlement and Bosdorp. Rivers Karatara got its name from the Karatara River that runs close by (P,Caveney, Karatara; 2016). Vegetation Karatara is located in-between a forest. Making Karatara the center of a forest glade. In these forests, there were some woodcutters who cut wood close to this area. Fig 55: Karatara & Bosbou (Author). Fig 56: Vegetation around Karatara (Author). Fig 57: Main road connecting to Karatara (Author). Fig 58: Karatara River (Author). 57 This experiment consists of two sites. The carpentry centre is located in the middle of Karatara and the timber factory is located closer to Bosbou. The two sites are approximately 1.5km from one another. Site context analysis Messo site analysis The town started as a plantation site, to aid the exploitation of forests and later became a social welfare town to aid in the housing problem. In 1939, when the rights of woodcutters to work in the forest was annulled, they were given a small pension and were also relocated to Karatara. Fig 59: Two proposed site in Karatara (Author). Fig 60: Karatara timeline (Author). 58 This is so that over time, the factory would be self-sufficient. The first proposed site is located close to a forest nursery. The nursery could assist the Carpentry factory in creating a plantation where trees can be harvested and used. The first proposed site is located further away from the small town due to concerns about potential noise from the timber factory. Additionally, it is also located in close proximity to forested areas which could serve to be helpful where trees could be planted and harvested. Proposed site 4.6 Site location 1 - Timber Factory 4.6.1 Micro site analysis Fig 61: First proposed site near Bosbou settlement (Author). 59 The proposed site PROPOSED SITE FOREST NURSERY FOREST BEHIND PROPOSED SITE (SOUTHERN SIDE) PROPOSED SITE ON STREET CORNER FOREST NURSERY LOCATED CLOSE TO PROPOSED SITE BOSBOU ROAD Fig 62: Proposed site (Author) Fig 63: Proposed site (Author). 60 4.7.2 Surrounding buildings Bosbou settlement The structures in Bosbou village are notably less developed compared to the Karatara area. In Bosbou, timber is commonly used for crafting gates, fences, buildings, and window frames and doors. It remains a delight to behold the intricate details in some of these structures and the skilful manner in which timber has been employed. Fig 64: timber details (Author). 61 Fig 65: Timber fence (Author). Fig 66: timber frames (Author). Fig 67: timber structure (Author). 62 FOREST NURSERY LOCATED CLOSE TO PROPOSED SITE PROPOSED SITE 1 BOSBOU SETTLEMENT BOSBOU ROAD PROPOSED SITE 2 KARATARA ROAD Fig 68: site layout (Author). 63 Forest nursery Karatara research centre and production nursery is owned by Ezigro seedlings. This group owns and operates eight nurseries across South Africa (Ezigro Seedlings, 2023: Online). This is a historic nursery for the industry and the Tree Protection Co-operative Programme (TPCP) because it is one of the last that still grow Pinus radiata (Monterey pine) in South Africa (Slippers, 2020). Fig 69: Forest nursery (Author). 64 4.7 Site location 2 - Carpentry Centre 4.7.1 Micro site analysis The settlement is made up of a church, primary school (grade 1-7), post office, small general store, community hall, clinic and the light house. The community hall used to be a nursing home and after that a college. Today it is a community hall which is used to allocate housing to people that go to the Knysna municipality. The second proposed site for the Carpentry Center is located in the centre of Karatara. This might assist in connecting with the surroundings and enhance engagement amongst the people of Karatara. Fig 70: Site 2 –Carpentry Center (Author). 65 DUTCH REFORMED CHURCH BLOEKOM AVENUE PROPOSED SITE VIEW FROM CHURCH TO PROPOSED SITE PROPOSED SITE CLINIC Fig 71: corner of site (Author) Fig 72: site from Bloekom avenue (Author). 66 In a small town like Karatara, which is laid out in a very formal grid with similar housing designs, experiential impoverishment may manifest in various ways due to the homogeneity and limited variety in the environment. Experiential impoverishment The layout may not encourage social interactions, and residents could struggle to form a sense of community, leading to social isolation and a lack of social support networks. This design has the potential to foster community engagement by occupying the town's central area. 4.7.2 Surrounding buildings Fig 73: Karatara strict layout (Author). 67 Fig 74: Collage of homogeneous housing (Author). Homogeneous housing 68 Dutch Reformed Church P.O/General store Primary school Primary school Community hall Fig 75: Karatara site layout (Author) 69 Surrounding buildings Homes Most structures in Karatara are houses. The design of the houses is simplistic. Some consist of a passage, bedrooms, bathroom, a living room pantry and kitchen. Most houses in Karatara have a veranda attached to the entrance of the building creating an extended threshold into the houses (figure 78). Characteristics noticed from existing buildings: ● Simplicity ● Symmetry ● Few rooms ● Order ●Similarity Fig 78: Karatara housing (Author) Fig 77: Karatara house plan (Author) Fig 76: Karatara house elevation (Author) 70 Surrounding buildings Dutch Reformed Church The second proposed site (Carpentry) is situated between a Dutch reformed church with a view towards the mountains. The Dutch Reformed Church on Bloekom Avenue, on the southern side of the site, faces towards the proposed site and creates a strong axis and hierarchical point through its long tower. The church will have a large influence on the site and how people address the southern point of the proposed site. Next to the proposed site is also a clinic. Fig 79: Dutch Reformed Church analysis (Author). Fig 80: proposed site analysis (Author). 71 CLINIC PROPOSED SITE The clinic is open only once a week and with inconsistent operating hours. As seen in figure 81 (of clinic), the area around the clinic is not user friendly. This compels many to wait outside for their turn to enter the clinic, with no shading devices or seating areas. Since the clinic is located very close to the proposed site, it is a possible design opportunity. The project can become an extension to the community, including spaces that they may utilise. Surrounding buildings Clinic Fig 81: Clinic analysis (Author). 72 There is an opportunity to link the natural landscape to man- made structures since the proposed site sits between a church and a view to the mountains. This links closely to the idea of transforming natural resources (timber) into something that can be used by people. 4.7.3 Wo(man) - Nature Fig 82: nature & human connection (Author). Fig 83: mountains behind proposed site (Author). 73 Fig 84: man-made vs nature (Author). 74 4.7.4 The gap in the forest canopy Theoretical inspiration Karatara derived its name from the Karatara River close by. Many have speculated over the origin of the name Karatara. One possible meaning derived from the Khoi word karaa, signifies a forest glade (Caveney, 2016: 9). A glade is a grassy open area that is surrounded by a canopy of trees. When natural circumstances, such as a windstorm, forces a tree to fall, a gap is left behind. The gap in the forest allows sun to filter through which allows seedlings the chance to grow. Seedlings will fight to survive and only few will grow. The survivors will fill the gap that was once there, and the forest may start to mature again. This is the cycle of the forest. On the Circles in a Forest Trail Walk in Knysna, SAN Parks explains that this forest growth cycle can be divided into three parts: gap, building and mature. The gap formed from the fallen tree, the seedlings battling in the building stage and the climax species which will eventually mature to close this gap. FOREST GAP Overstorey Canopy Overstorey Shrub layer Forest Levels Fig 85: forest levels (Author). 75 Forest Levels architectural insights The levels in the forest can be architecturally used. Levels are illustrated through walkways, sunken or heightened floors Fig 86 - 89: architectural exploration of forest levels (Author). 76 4.7.5 Theoretical planning 4.7.5.1 Introduction An investigation into the theory followed after the site changed. The theme of Karatara being a forest glade was used as the theoretical approach to the design. This experiment tries to include the theory that was done in experiment two. The forest growth cycle, which has three parts, is divided into the concepts created in experiment one. The ‘joint’ concept merges with the first part of the growth cycle, gap. ‘Connecting the gap’. Because the forest gap can be seen on plan, it is associated with the topography of the site. This could become an investigation to how the plan is treated through courtyards or connected spaces. The second concept, ‘tools’ merges with ‘building’. It becomes “Instrument guiding the building”. The third concept ‘transformation’ merges with maturing and becomes ‘enlightened maturing’. Fig 90: theoretical planning experiment 2 (Author). 77 “Contrasts themselves are the very basis of architectural experience. The experience of a quality is sharpened and made tangible by connection with its bipolar opposite. Coolness is experienced in relation to a sense of warmth and cozy containments is experienced in relation to soaring openness. The awareness of light is anchored by darkness.” (Jacobson, Silverstein & Winslow 1990). Because there are two sites and one theory, the theory is modified to address both projects (figure 91). The Timber factory and carpentry center should appear as one unit. This theory connects both sites through comparing the forest growth cycle with the process of the timber factory and carpentry centre. These two projects work together. Just like a forest gap allows tree lings to grow by providing sunlight in the gap. The Timber factory shows the initial stages of the process. By felling trees and preparing them to be used in the carpentry factory, it provides the opportunity for the timber to become something. The Carpentry centre ‘fills this gap’ by transforming the timber into objects which can be used by people. It bridges the gap between nature and wo(man). The theory responds to both sites and show a co-dependent relationship between both projects. LIGHT LIGHT SHADOW SHADOW Timber factory gap Carpentry center Canopy Theoretical approach 4.7.5.2 Two sites and a theory Fig 91: Canopy vs gap (Author). Fig 92: Forest gap (Author). Fig 93: canopy (Author). 78 4.8 DESIGN DEVELOPMENT 4.8.1 Site 1: Timber Factory 79 The timber factory assists in feeding the carpentry centre. Theoretically it is seen as the gaps in the forest canopy which allows light to filter in allowing smaller plants to grow. This can translate to in-between spaces, like creating courtyards or light wells (figure 95). 4.8.1.1 Translating the theoretical approach Fig 95: in-between courtyard spaces (Author). Fig 94: timber details (Author) 80 4.8.1.2 Precedent study Tofu Factory – DnA Design Typology - Factory Location – Lishui, China Year – 2018 The factory is both a production and exhibition space of traditional heritage of the Caizhai village. The covered walkway accommodates visitors exploring the factory with a tasting hall facing an open plaza (figure 96). Fig 96: tofu factory public walkway (Author). Fig 96: tofu factory process (Author). 81 The process that occurs happens in sequence. Each room feeding into the next. The linear layout follows the process of making the tofu. The building is divided into 6 rooms consisting of; • preparation room, • grinding compartment, • boiling compartment, • deep-frying compartment, • drying compartment, and • tasting hall. Fig 97: tofu factory plan (Author). 82 Fig 98: timber factory location (Author). 83 4.8.1.3 Plan development The plan of the tofu factory inspired the exploration of the Timber factory. The layout follows a similar linear path. This allows the timber factory to follow a certain process in sequence until it reaches the final product. Loading timber storage Sawmill Kilns Sander Final storage Fig 99: Timber factory plan diagram (Author) Fig 100: timber factory section process (Author). 84 The first plan (figure 101) mapped out the basic spaces required. Similar to the Tofu Factory, the Timber Factory adopted a linear plan to follow the process that would happen throughout the structure. The second plan (figure 102) evolved from the foundational massing of the initial plan. A central walkway has been established for visitors to engage with the process. Fig 101: timber factory plan 1 diagram (Author). Fig 102: timber factory plan 2 (Author). 85 The third plan (103) delved into in-between spaces, with a particular focus on incorporating the concept of 'forest gap’. The final plan (104) started to focus on how the spaces would function cohesively. Fig 103: timber factory plan 3 (Author). Fig 104: timber factory plan 4 (Author). 86 4.8.1.4 Elevations The elevations tried to include many vertical lines in order to resonate with the surrounding trees. The design tries to explore solutions to accommodate for the 3 metre slope (fig 107-109). Fig 105: Elevation incorporating rhythm (Author). Fig 106: Elevation imitating surrounding (Author). 87 Fig 107-109 : Elevation experimenting with slope (Author). 88 DESIGN DEVELOPMENT 4.8.2 Site 2: Carpentry Centre 89 The Carpentry centre, which represents the forest canopy, explores how light can filter through buildings. Different trusses can be explored to see how light could filter in. 4.8.2.1 Translating the theoretical approach Fig 110-112: roof truss exploration (Author). Fig 113: section diagram exploring forest levels (Author). 90 4.8.2.2 Forest Canopy FOREST GAP CANOPY LEVEL ROOFS WALKWAY The forest levels are integrated into the design to provide visual cues from which the sections are extrapolated. In figure 114 the forest canopy is translated into a covered walkway in the center of the design. The forest canopy level is reimagined as the design's roofing structure. Fig 114: forest canopy inspiring architectural interventions (Author). 91 Forest levels Forest Growth Cycle Symbols Translate to architecture Dutch Reformed Church Walkway Canopy Canopy Forest levels Fig 115: forest levels transformation into architecture (Author). 92 Fig 116: location of carpentry factory (Author). 93 4.8.2.3 Plan development The development of plans for the Carpentry tries to translate the forest gap into openings, such as courtyards. Roof structures, such as waffle trusses can also give the effect of light filtering through trees. Fig 119: theoretical spatial development (Author). Fig 117: waffle truss (Author) Fig 118: waffle truss (Author) 94 The first plan took clues from the timber factory. It is organised in a linear way because it also has a certain process which it follows. The second plan focused on the massing of the structure. The linear plan is distorted. Fig 120: Plan development one (Author). Fig 121: Plan development two (Author). 95 The third plan focused on the functions of the design and how they would work together. The final plan refined some of these spaces and focused more on parking spaces. Fig 122: Plan development three (Author). Fig 123: Plan development four (Author). 96 Conclusion of Experiment 2 Experiment 2 provided both a comprehensive and detailed analysis of Karatara. This experiment focused much more on how the theoretical approach could shape and stimulate specific design solutions. 97 REFLECTION on experiment two The idea of having one site already started to emerge in ‘Experiment 2’, when the project relocated to Karatara. After receiving more exposure with a timber factory and carpentry centre, I quickly learned that the project would become too large, and I could not give enough attention to both projects. There are also not enough people in Karatara to support both the timber factory and a carpentry centre. A woodworking centre may help individuals to create more specified items for their houses and for further developing houses. Therefore, I only continued with the second program, the ‘Carpentry Centre’. Because the project only continues with the Carpentry centre, there is no connection to the forest anymore. The project would therefore solely be influenced the town. Because the focus of this project is the woodcutters, the site had to move closer to the forest. I also realised that the concept ‘forest growth cycle’ does not have a strong link to the essence of the project which is ‘memory’, specifically focusing on celebrating the woodcutters. Experiments 1 and 2 focused too much on the connection between two buildings instead of a connection between history and site. On page 91, visual cues were used to transform a forest canopy into a design. This was an interesting revelation which is further explored in experiment 3. 98 5. EXPERIMENT 3 SITE ANALYSIS THEORETICAL PLANNING THEORETICAL PRECEDENT CONCEPTS DESIGN DEVELOPMENT CONCLUSION REFLECTION 99 5.1 Introduction Experiment 3’s designated location remains within Karatara, mirroring the site chosen for Experiment 2. While Experiment 2 conducted a comprehensive site analysis of Karatara as a whole, Experiment 3 focuses exclusively on the site analysis specific to the proposed site. The theoretical framework has evolved, placing a stronger emphasis on the integration of historical narratives related to woodcutters. As experiment 3 represents the final phase of design, it encompasses the entire design development process, including the accommodation list, client considerations, and precedent studies. The primary objective of this experiment is to fulfil the initial goal of identifying a unique location in need of intervention and developing appropriate conceptual ideas rooted in a deeper understanding of the place gained through research and experimentation, particularly drawing from the history of woodcutters. Fig 124: Diagram experiment 3 (Author). 100 5.2 Forest tale Dreamforest (Toorbos) Synopsis Dreamforest (Toorbos) is a novel written by Dalene Matthee that delves into the complex relationship between Karoliena Kapp, an initiated 'forest woman,' and the forest itself, which she considers her primal mother. Karoliena, a beautiful woman, marries Johannes, a former forest dweller now living in the village. The story explores the stark contrast between the mystical forest and the money-driven village, with Karoliena craving the former's ecstasy. Despite her love for Johannes, she quickly realises that her decision to marry him and leave the forest was a mistake (Matthee 2005). Feeling trapped and fearful in the village, she returns to the forest, leaving behind her newfound but suffocating life. Throughout many of Dalene Matthee's stories, it becomes evident that the forest's inhabitants resist leaving because it is their true home. This project delves into the history of the woodcutters, and as such, it cannot be detached from the forest. In experiment 3, the project's focus shifts to the forest itself, celebrating the lives of the woodcutters and seeking a better understanding of their existence. Fig 125: The forest calling for Karolina (Author). 101 Fig 126: Proposed site location (Google earth, 2023: own adaptations). 5.3 Site location 102 PROPOSED SITE FOREST CEMETERY BOSBOU ROAD 5.3.1 Proposed site Fig 127: Karatara proposed site location (Author). 103 5.3.2 View of site (Bosbou Road) H O U SE F O R E ST R E C E SS E D O P E N F IE L D Proposed site M O U N T A IN S IN F A R B A C K G R O U N D SI D E W A L K B L O E K O M A V E O P E N F IE L D R E C E SS E D F O R E ST The site sits on the edge of Karatara and acts as a connection between the town and the forest. The proposed site is situated on Bosbou road approximately 130 metres north of the cemetery. The proposed site is moved into the forest where the design could be free from the direct influence of the settlement. It is still close enough to Karatara to have an influence on the settlement. Fig: Perspective of proposed site (Author). Fig 128: Section through proposed site (Author) 104 5.4 Conceptual planning Fig 129: Reverse Sawmill (Author). 105 The theoretical approach in this project has evolved to become more closely intertwined with the core theme of memory, particularly focused on capturing and preserving the history of woodcutters and forest exploitation. This concept of memory has been further refined and segmented into three subheadings: ‘Memory Palace’, ‘Architectural Metonymy’ and ‘Adapting to the Community’. 1. ‘Memory Palace’ involves the process of extracting the narratives of woodcutters and utilising the ‘Method of loci’ to anchor these stories through visual cues. The goal is to recall these stories and enable their translation into architectural elements. 1. 2. ‘Architectural Metonymy’ represents the subsequent phase, where visual derived from these memories are infused with recognisable archetypes to shape them into architectural components. This transformation aims to create a spatial experience that serves as a powerful reminder of history. 1. The final stage ‘Community Engagement’, plays a vital role in the project’s social aspect, focusing specifically on the proposed site. The architecture, inspired of its location, must seamlessly resonate with its surroundings, making a meaningful impact on the community and promoting interaction. The following pages will deal with the concepts in more depth. Fig 130: Diagram of conceptual planning experiment 2 (Author). 5.4.1 Introduction 106 5.4.2 Theoretical precedent Plato – The Allegory of the Cave Plato says that ‘true reality’ is not that which is physical but rather abstract concepts or ideas (Plato 2017). The idea is for the visitor to be reminded of Karatara’s history when they enter the building. To evoke specific memories in architecture, we can associate these memories with architectural explorations. Plato’s Theory of forms is a way of thinking about the relationship of two things. The one we access through our senses and the other through intellect. Plato uses prisoners that have been in a cave their whole lives as an example. Prisoners cannot move their heads and are chained to the ground. A fire behind them casts a shadow on the wall in front of the prisoners. When objects are moved in front of the fire, all that the prisoners can see is the shadows of the objects. This is their true reality. When a prisoner is released, he sees what is happening behind him and he can never go back to believing that the shadows is the true reality. He may feel as if now he has an even better understanding of the world (Hubbard,2020). In this example, Plato states that reality is split into two dimensions; the real objects and how we experience the world through our senses (shadow). The design is not the fundamental reality of the woodcutters but rather an experience and reference of it. The stories give meaning to the architecture. THEORY Fig 131: The Allegory of the Cave (Author). 107 Plato – The Allegory of the Cave Relating to architecture Architecture is seen as the ‘shadows’ that the prisoners saw in the cave (figure 132). It is a fragment of reality and not an accurate presentation of the woodcutter’s ‘real world’. The ‘real objects’ are the stories of the woodcutters. This is similar to the Carpentry Factory. It is meant to evoke memories of the woodcutters and is only a fragment of the ‘real world’ that the woodcutters experienced. When the released prisoner sees both the ‘real object’ (stories) and the ‘shadow of the real object’ (architecture) they know the meaning behind the structure. This can help users to understand the experience of the structure. The following section will explore three concepts which can assist in incorporating the history of woodcutters in architecture through imagery. ARCHITECTURE Fig 133: Architectural analysis of the Allegory of the Cave (Author). Fig 132: Architectural analysis of the Allegory of the Cave (Author). 108 5.4.3 Concept 1: Memory Palace Memory When we see the images of the woodcutters and the forest, we realise their relationship with one another, and we can understand the forest in this specific time. The fragmentation between past and present disappears as one place through imagery. This concept uses sketches as a language to translate memories of woodcutters living in the forest into visual images. “Architecture, like memory, is composed of images. Memory, like architecture, constructs through a relationship between images, a framework for understanding space and time” (Hopkins, 1996). Figure 134 illustrates the way in which the forest could possibly be understood as visual images. The images of woodcutters symbolise a specific point of reference in time. Fig 134: present forest & past narratives (Author). 109 Method of Loci is a strategy for memory enhancement. It is a mnemonic device used to recall and remember information through visual cues. According to an ancient Greek myth, this technique was invented by poet Simonides of Ceos after he attended a banquet. The building collapsed when he stepped outside, and he had to identify who was in the building based on where he sat at the table. Thus, the method of loci was invented (Zielinski, 2014). The method of loci requires one to pin certain things that should be remembered to a familiar loci (location) in the mind. The familiar location is based on each person’s own personal place that they choose. Memory Palace The mind’s blueprint One can ‘walk’, (usually in sequence) through this loci and recall these items again which needed to be memorised. The method of loci becomes a guiding tool which could assist in recalling the history of woodcutters and Karatara. Through imagery we can recall these memories and find a connection between past and present. We can take certain memories and place them in the familiar place (architecture). This architecture symbolises a point of reference in time. When we walk through this familiar place, we are reminded of woodcutters. This concept assists in designing a structure that is derived from a deeper understanding of its environment. IMAGES FAMILIAR PLACE Fig 135: Executing the method of loci (Author). 110 5.4.4 Concept 2: Architectural Metonymy Translation device He recognizes that our mental images and memories can be a powerful source of inspiration. By tapping into these visual memories, architects can create designs that are not just functional but also evoke emotional and sensory responses (Bachelard 2014). Bachelard's focus on imagination and memories in architecture underscores the ability to craft spaces that resonate, fostering stronger connections between people and their environment. Once these memories have been recalled, we need to transform it into architecture. This concept draws inspiration from the work of Gaston Bachelard, who believed that the images in our minds have a powerful impact on how we experience buildings. Bachelard places a strong emphasis on the role of imagination in shaping our perception of architectural spaces. Fig 136: architecture imbedded in mental images (Author). 111 Metonymy is a figure of speech. It substitutes the word used for an object or idea with another name that is closely associated. Within the realm of architecture, metonymy serves as a tool for translating specific concepts into architectural designs to preserve the qualities of the concept. These archetypal elements represent the concept’s essential characteristics. The theory can be understood by using a story of woodcutters living in the forest and their rituals. The tale begins with a woodcutter's hut and follows the woodcutters as they traverse the forest, encounter an elephant, seek safety in the trees, potentially rest, and ultimately Architectural Metonymy Transforming Memory Palace into architecture construct a temporary shelter near the tree that they will cut down. In the subsequent phase, we witness the transformation of these narrative elements into architectural manifestations. The humble hut evolves into a modern structure. The once-empty forest clearing takes on the form of a towering structure, extending into the upper reaches of the tree canopy. The scene depicting woodcutters seeking refuge amid the trees inspires the creation of treehouse-like structures. Thoughtfully designated resting areas are incorporated into the design, Ultimately, the journey concludes with the possibility of a chosen tree being converted into a pavilion. Fig 137: transforming narratives into architectural elements (Author). 112 5.4.5 Concept 3: Community Engagement Site analysis Theorist Gaston Bachelard insights emphasized the poetic and emotional dimensions of space. This concept recognizes that architecture goes beyond the structure and it becomes a living narrative that interacts with the community it serves. Similar to Bachelard's vision of architecture resonating with personal and collective memory, here, the aim is to create spaces that are not only functional but also steeped in meaning, spaces that people identify with, spaces where they can forge their memories and stories. Fig 138: creating engaging spaces derived from memory (Author). 113 This adaptation isn't limited to the final phase but can be interwoven throughout the entire process. This architectural intervention could be explored through the addition of public spaces that engage and invite the community to participate. In doing so, the architecture transforms into a catalyst for fostering stronger connections, ultimately enriching the collective memory and identity of the community. This concept tries to address the disconnection of experiment 2, which was to create both a timber factory and carpentry center in a settlement with few resources and people living there. The goal of this concept is to integrate the previously mentioned archetypal elements of concept 2 ‘Architectural Metonymy’ into the community. This is done in order to promote engagement amongst visitors. Concept 3: Community Engagement Archetypal analysis Fig 139: architecture which evokes community engagement (Author). 114 Conclusion Theoretical methodology offers a framework for translating the historical narratives of woodcutters into architectural design, enabling the development of a project deeply rooted in its environment. 115 6. Design development Fig 140: Plan development (Author). 116 6.1 Design development Introduction Client Accommodation list & brief Model 1 Model 2 Model 3 Model 4 Model 5 Final model Conclusion 117 6.2 Introduction How can the creation of a Carpentry center in Karatara be approached through the lens of recalling memories, archetypal references, and their integration within the existing community? The Carpentry Center plays a pivotal role in providing employment opportunities and skill enhancement for the community of Karatara. The rich heritage of woodworking and woodcutting is deeply intertwined with the history of Knysna, making this establishment a valuable bridge between the present and the past. The concepts are born out of the notion of memory and are architecturally sculpted through an investigation into the history of the site. The architecture is shaped as a reminder of the site’s history from recalling the memories and integrating it into the site. The spaces that accommodate the public are designed to include visitors and give meaning to the carpentry center by being more than just a place that offers employment - it reminds us of the woodcutters who were one of the first residents of Karatara. 118 6.3 Client & Brief Knysna Municipality Client Karatara forms part of Knysna Municipality. Knysna Municipality’s vision is to ensure that there are inclusivity amongst the community. Knysna Municipality’s mission is to “provide affordable quality services, alleviate poverty, and facilitate social and economic development in the Greater Knysna municipal area through integrated development planning, skills development and the sustainable use of resources.” (Knysna Municipality, 2023). Funding for this project can be sourced from the Knysna municipality, yet the primary clients could be considered the residents of Karatara. The Carpentry Center has the potential to not only generate employment opportunities but also fortify Karatara's distinctive identity, thereby contributing to poverty reduction, promoting social and economic progress, and enhancing the residents' skill development. Brief The project is a multifaceted initiative that leverages history, community, and economic development. By bridging the gap between history and present, this project has the potential to leave a lasting impact on the community of Karatara while celebrating its unique heritage. Fig 141: Knysna Municipality Logo (Knysna Municipality, 2023: Online). 119 6.4 Accommodation list Carpentry Factory: Timber storage area Machine room Assembly area Finishing area Final storage area Waste material storage Tools sharpening room Ablutions First aid room Manager’s office Tools storage area Dust extractor Temporary storage area Staff amenities (factory staff): Reception (scan in) Lounge Kitchen Office Lockers Showers Ablutions Generator room Saw dust storage Gift shop: Sales area Office Storage Ablution Staff area (giftshop & educational carpentry: Breakroom Lockers Shower Ablution Office Storage Timber storage Furniture storage Café : Kitchen Outdoor public seating Public ablutions Staff ablution Staff room (café): Office Lounge Kitchenette Storage Reception & Admin: Reception area Printing room Kitchenette General office area HR office Finance office Manager’s office Electric storage room File storage room Hardware shop: Sales area Equipment storage Staff room Ablution Storage Office Educational carpentry: Workshop area Tools storage area Tools sharpening room Timber storage Finish and dry area Office 120 6.5 Organized areas and functions The Carpentry factory focuses on making window and door sills. This idea was inspired by Bosbou settlement which had beautiful crafted items (page 60). The mass production in window and door sills may sell quicker because of higher demand and assist in future developments in Karatara. CARPENTRY FACTORY HARDWARE SHOP ADMIN CAFE EDUCATIONAL CARPENTRY COURTYARD TO CONNECT THESE SPACES Fig 142: Diagram of spatial arrangement (Author). 121 6.6 Typical carpentry factory process CM chain machine SIB slot boring DM dovetailing/ mortising PD pin drill CPS circular panel saw PT thickness planer A typical carpentry factory would need a timber storage area, machine room, bench room and a finishing room. The bench room should not only have enough space for the workers but also enough space where items can be assembled. PS surface planning ES edging circular saw CCS cross-cut saw M milling machine SB belt sander BS band saw Fig 143: Diagram of timber factory spatial arrangement (Author). 122 6.7 Stages of design development Fig 144: Models illustrating design development (Author). 123 6.7.1 Model 1 Fig 145: Model 1 (Author). 124 Fig 146: Pine park pavilion (Z. Wang, 2017: Online) 125 Precedent study Pine Park Pavilion | DnA Location – Lishui, China Project year - 2017 This pavilion in Huangya serves as a resting spot for villagers and is seamlessly integrated into the walkway used by tourists cycling and hiking. It provides insights into traditional resin production methods for passersby. It also provides information about the area, connecting the past and future. The structure employs a concrete base to support the light pine resin, with the vertical columns flawlessly blending into the surrounding environment (Wong 2018) . Fig 147: Pine Park Pavilion façade (Author). Fig 148: Light structure on heavy mass (Author). Fig 149: Elevation resonating to surrounding rhythm (Author). 126 Model 1 Linear layout The following section focuses on the initial conceptual ideas for the structure. The linear layout tries to signify the passage of time in a sequential manner. This is intended to demonstrate that a specific process is unfolding and can be understood in a sequential manner. The following design elements were disregarded in the initial stages of the design: · Scale of the building · Slope of site · Structural limitations of materials Fig 150-152: Linear development (Author). 127 Model 1 The initial model prioritised spatial organization, drawing inspiration from Pine Park Pavilion. It created a linear layout effortlessly connected to a public walkway, enabling visitors to interact with the timber factory and witness the production process. In an effort to harmonise with the surrounding forest and settlement, the design embraces simplicity in its structures, avoiding competition with the natural environment. Fig 153: model 1 plan (Author). Fig: Model 1 (Author). Fig 154: section through factory and educational carpentry (Author). 128 Model 1 Exploring tower typologies The idea of creating towers emerged. This created hierarchy in the forest and articulates moments of change throughout the design. ● Towers are triangular. Shape tries to connect to the sky. ● Towers allow light to filter in. ●Towers also assist in connecting spaces together and articulating the transformation from one space to another. Although towers still appear too stereotomic and does not interact with its environment. Fig 155: tower typology (Author). Fig 156: model 1 section line (Author). Fig 157: sectional elevation (Author). 129 Model 1 Exploring tower typologies Fig 158-161: tower typology explorations (Author). 130 Things considered for the following model - Tower exploration - Need more public spaces - Integrate design into site - Design with slope of site - Bridge design 131 6.7.2 Model 2 Fig 162: Model 2 (Author). 132 Model 2 Model 2 actualises the theoretical approach outlined on page 109 by transforming the narrative of the woodcutters in the forest into architectural elements. The linear layout of the plan traces the path that a woodcutter follows into the forest. The initial tower serves as an introduction for visitors to the predominantly forested structure. The second tower incorporates a staircase, symbolising the memory of a woodcutter climbing into the trees to seek refuge from the elephants. Continuing along this path, one encounters public seating, ultimately culminating at the final tower nestled deep within the forest. Fig 163: model 2 floor plan (Author). Fig 164: model 2 diagram (Author). Fig 165: forest narrative (Author). 133 Model 2 The Carpentry Factory is situated perpendicularly to the main axis and maintain a linear sequence. Additionally, intermediary spaces are emerging to enhance the experience for the public. Fig: (Author). Fig 166: model 2 section line (Author). Fig 167: section through educational carpentry (Author). 134 A lookout point is designed to foster a connection with the natural surroundings. This structure forms a secluded enclosure where individuals can immerse themselves in the natural environment. This enclosure is elevated from the ground and can be accessed via a ramp. A horizontal opening at eye level height provides privacy for those inside while framing views of the surrounding landscape. An elevated bridge spans the courtyard, linking to the adjacent restaurant area and bridge. This provides an alternative circulation to visitors and a view over the courtyard. The design of the bridge harmonises with the rhythmic elements found in the forest backdrop. Model 2 Fig 168: lookout point (Author). Fig 169: appreciation pavilion (Author). Fig 170: appreciation pavilion & bridge (Author). 135 Figure 171 & 172 provides an exploration of the design's arrangement, shedding light on a crucial aspect: the necessity for the incorporation of additional spaces such as offices and staff amenities. OFFICES TIMBER FACTORY OFFICES TIMBER FACTORY Fig 171: model 2 floor plan (Author). Fig 172: model 2 floor plan (Author). 136 Things considered for the following model - Influence of the forest on design - Need more staff amenities - Tectonic experience/exploration 137 6.7.3 Model 3 Fig 173: model 3 (Author). 138 The plan is predominantly located within the forest, with the building's edge positioned along the forest's boundary. This placement ensures visibility from the street and serves as a linkage between the settlement and the surrounding forest. SITE PLAN Fig 174: site plan (Author). 139 The third model retained the majority of the layout from model 2 while enhancing the surrounding spaces. Additionally, this model placed a greater emphasis on the tectonic structures and the integration of the design within the site. Model 3 CAFE EDUCATION CARPENTRY CARPENTRY FACTORY ADMIN COURTYARD STORAGE STAFF FACILITIES COURTYARD Fig 175: model 3 floor plan (Author). Fig 176: model 3 (Author). 140 Entrance tower (first tower) Engaging tower (second tower) Second tower & bridge Engaging tower (second tower) 141 Pavilion (final tower) Timber delivery yard & Factory Carpentry factory public walkway Appreciation pavilion & bridge Fig 178 - 185: Photos of model 3 (Author). 142 Things considered for the following model - Tectonic experience/exploration - The layout becomes important - Refining spaces - Exploring courtyard space - Situation of the carpentry factory 143 6.7.4 Model 4 Fig 186: model 4 (Author). 144 CAFE CARPENTRY FACTORY ADMIN COURTYARD STORAGE STAFF FACILITIES WC RECEPTION EDUCATION CARPENTRY TIMBER STORAGE WORKSHOPS FINAL STORAGE Fig 187: model 4 floor plan (Author). 145 Model 4 Model 4 features a more intricate courtyard design, with public restrooms conveniently located near the reception area. Given that the timber factory is oriented towards the street, the placement of the timber delivery yards facing the street prompted an inquiry into the possibility of relocating the factory. Fig 188: courtyard space (Author). Fig 189: model 4 (Author). 146 This floor plan aimed to solve the previous issue by relocating the carpentry factory, which, in turn, required the movement of other functions. Fig 190: abstract floor plan (Author). 147 Fig 191: floor plan (Author). 148 Things considered for the following model - Tectonic experience/exploration - Refining spaces and 3D’s - Exploring courtyard space - Embed theory in design - Parking - Precedent studies 149 6.8 Model 5 Fig 192: Final model (Author). 150 6.8.1 Introduction In the final model many of the 3D explorations were examined in detail and finalised. The final design exploration includes floor plans, site plan, precedent studies, perspectives and models. Fig 193: final model (Author). 151 Fig 194: bird’s eye view spatial arrangements (Author). 6.8.2 Bird’s-eye view: Spatial arrangement 152 Fig 195: Context plan (Author). 6.8.3 Context plan The plan sits on the border of the forest and acts as a joint between the forest and settlement. 20 40 80 153 1 2 23 3 6 7 10 5 8 21 22 13 12 17 4 14 20 19 16 15 11 9 18 6.8.4 Floor plan 1. Reception 2. Offices 3. Public ablution 4. Staff parking 5. Gift shop 6 Timber storage & offices 7. Educational carpentry 8. Staff amenities 9. Ablutions 10. Cafe 11. Reflection pavilion 12. Delivery yard 13. Timber storage 14. Cut timber to size 15. Equipment area 16. Sanding area 17. Assembly area 18. Finishing area 19. Final storage 20. Pick-up area 21. Staff amenities 22. Staff parking 23. Security 24. Material library & studio 25. Hardware shop 26. Public parking 24 25 26 Fig 196: Final plan (Author). A B C D E F 154 Conclusion Fig 197: axis path in model (Author). 155 6.9 Main axis and courtyard Fig 198: main axis and courtyard space (Author). 156 Fig 199: Lixiang Village Public Space (Timeraw Studio, 2020: Online) 157 6.9.1 Precedent study Lixiang Village Public Space | AESEU Architectural Technology and Art studio The ATA design team transformed abandoned village houses into a lively alley with tourist services, dining, exhibitions and shops. This revitalisation attracted former residents back to their hometowns, enriching both tourism and community life by merging public spaces and tourist amenities to improve villagers' quality of life. Location: Nanjing, China Project year - 2019 At the entrance there is a semi- outdoor public space where villagers can handle affairs. These areas offer a connection to nature and allow them to observe passing visitors, serving as a source of information and fulfilling the desires of nostalgic travellers (ArchDaily 2021). Connecting to nature Natural light Semi outdoor space Fig 200: Section of Lixiang Village (Author). https://www.archdaily.com/office/aeseu-architectural-technology-and-art-studio?ad_name=project-specs&ad_medium=single 158 The trees positioned between these frames create an illusion of woodcutters actively engaged in the forest, offering visitors an immersive experience of the woodcutters' rituals through visual imagery. 6.9.2 Entrance to building The building's entrance sets the initial spatial impression as visitors arrive. Upon reaching the entrance, guests will encounter timber frames adorned with resin- printed images of woodcutters. Fig 200: Entrance structure (Author). 5 10 15 Section A 159 ENTRANCE HARDWARE SHOP STORAGE COVERED AREA COURTAYRD WALKWAY VIEWING CARPENTRY FACTORY WALKWAY VIEWING CARPENTRY FACTORY EQUIPMENT AREA EQUIPMENT AREA SANDING AREA Fig 202: section through courtyard (Author). Spatial development of courtyard Fig 201: Courtyard & axis plan (Author). 160 6.9.3 Spatial development Karatara’s community hall where members of the public could previously meet up, was changed into temporary shelter for people without housing. Thus, the courtyard space could be introduced as a possible space that the public could use. During busy tourist days, this space could be used as an exhibition and market space where locals could sell their crafts. Fig 203: Semi-enclosed courtyard (Author). Section B 161 TOWER 1—canopy entrance TOWER 2 - Elephant haven & bridge COURTYARD ENCLOSED COURTYARD CONNECTING SPACES AROUND IT Fig: courtyard circulation (Author). Fig 204: courtyard & towers (Author). 5 10 15 Fig 205: section (Author). 162 6.9.4 Precedent study Allmannajuvet Rest area & Museum| Peter Zumthor Location – Norway Project year - 2016 Fig 206: Allmannajuvet rest area (Author). Fig 207: Allmannajuvet rest area (P. Berntsen, 2016). 163 The Allmannajuvet Rest Area & Museum, designed by Peter Zumthor, is a minimalist architectural complex in Norway that combines a rest area with a museum on zinc mining history (ArchDaily 2016). Peter Zumthor explains that the multiplicity of objects is revealed when those who coexist with them can discern their individual components while simultaneously perceiving the entirety of their collective purpose. Zumthor uses architectonic dramatisation to reach memory because it evokes emotions in people. These sketches explore simple structures which might evoke memories in its users. Fig 208-213: simplicity & multiplicity exploration (Author). 164 6.9.5 Elephant haven Fig 216: section (Author). Fig 214: engaging tower & bridge (Author). Elephant haven is the second tower on the main axis and it is connected to a bridge. This is constructed from the conceptual idea of woodcutters climbing in trees to hide from elephants. The bridge extends to the carpentry factory and allows visitors to view the inside from this height. Section C 165 Fig 215: bridge model (Author). 5 10 15 166 Fig 217: Final pavilion (Author). Fig 218: Section (Author). Section D 167 Fig 220: Final pavilion elevation (Author). Fig 219: Final pavilion model (Author). 5 10 15 The final pavilion is situated at the end of the main axis and symbolises the final destination for woodcutters who journey deep in the forest to harvest a selected tree. This pavilion tries to enhance the experience of the forest by imitating it. 6.9.6 Final destination 168 Fig 221: appreciation pavilion (Author). Fig 222: section (Author). 5 10 15 Section D 169 Fig 224: appreciation pavilion (Author). Fig 223: appreciation pavilion detail (Author). 6.9.7 Forest appreciation This pavilion serves as a semi- private structure which allows visitor to engage in personal reflection and form a connection with the natural environment. his pavilion serves as a semi structure, enabling visitors to engage in personal reflection and establish a con- nection with the surrounding natural environment. 170 Conclusion Fig 225: office & hardware shop model (Author). 171 6.10 Reception & Hardware shop Fig 226: model of plan showing office & hardware shop (Author). 172 Fig 227: Shibori Office 21 (P. Vinay, 2021). 173 6.10.1 Precedent study Shibori Office 21 | The Grid Architects This was manifested as architecture that invited the sun to create a spatial experience underpinned by a play of light and shadow. The structure transformed a site office into a dynamic asset for the company and a landmark for the city. Location – Gandhinagar, India Project year - 2021 Circulation is located on the western side with a row of trees providing shade to the glass façade. Fig 228: Shibori office 21 plan (Author). Fig 229: interpretation of Shibori Office 21(Author). 174 6.10.2 Spatial development of Reception & Offices BOARD ROOM GENERAL OFFICE KITCHEN RECEPTION PRINT ROOM ABLUTIONS PUBLIC ABLUTIONS STAFF PARKING Fig 231: Office, Reception & Hardware shop floor plan Courtyard space integrated in layout to incorporate nature and spaces for pause. COVERED WALKWAY Fig 230: Public walkway against office space (Author). The design of the offices and admin spaces draw inspiration from Shibori Office through incorporating public spaces which push into the structure to create small courtyard spaces. 175 HARDWARE SHOP EQUIPMENT STORE ASSEMBLY AREA M