Fig. 01 A panoramic view of the Maletsunyane Waterfall in Semonkong, Lesotho. Main view from the site (Howes, 2019: online) SCAN ME Fig. 02 Semonkong, Lesotho. (online) 11 Acknowledgments My family for their support and always believing in me. Professor Jan and Petria Smit, Martie Bitzer, Annemarie Wagener and all lecturers for their well versed advice throughout the year. My friends and the red cubicle team. The Masters class of 2019 This dissertation is submitted in partial fulllment of the requirements for the degree M.Arch (Prof) 08 October 2019 Supervisor Martie Bitzer Department of Architecture, Faculty of Natural and Agricultural Sciences, University of the Free State Declaration of original authorship I, Marc Makeka, acknowledge and declare that the work contained in the dissertation has not been previously submitted to meet the requirements for a qualication at this or any other higher academic institution. Figures not referenced in this dissertation are by the author. All quotes used are referenced and acknowledged with a source list provided. To the best of my knowledge, this dissertation does not contain any material previously written or published by any other person, except where due reference is made. Marc Makeka 2014099762 marc@kangfong.com 2 PREAMBLE This dissertation emanates from an interest in vast natural landscapes. It proposes an Appreciation centre in the majestic mountains of Semonkong, nestled in the heart of Lesotho. The objective is to design a meaningful place that respects the site with regards to the context, climate, appropriate technology and materials. This will be achieved through the investigation of identity and biophilia. The client is the Lesotho Tourism Development Corporation (LTDC) which aims to promote sustainable and responsible economic development through tourism. Other objectives of this institution include providing a positive and consistent voice for Lesotho, and encourage tourists to learn more about the destinations they visit in Lesotho. This dissertation has been organized into two main parts which focus on the grounding and making of the project respectively. The rst part will identify the aims and problem statements by exploring the topology, morphology, typology and tectonics of the impending design outcome. This part also explores the theoretical grounding leading towards a design methodology. The second part will identify the design development and its synthesis, Fig. 03 tectonics and a concluding reection assessment of the Settlements in Semonkong design's success or lack thereof. within their mountainous context Key words and phrases: Identity, Patterns, Biophilia, Landscape Appreciation Centre, Maletsunyane Waterfall, Natural environment, Land art 33 DOCUMENT FRAMEWORK PART ONE PART TWO PROBLEM STATEMENT AND AIMS DESIGN DEVELOPMENT Touchstone Conceptual framework Model development TOPOLOGY DESIGN SYNTHESIS Context [Macro, Meso and Micro] Design reaction to the context and climate Theoretical grounding Design synthesis (functional composition) Final Design MORPHOLOGY History of the Place Site ecology TECHNICAL REPORT Theoretical grounding TECTONICS Technical data and resolution TYPOLOGY Client requirements and users REFLECTION Precedents Reection on the outcome and experiences of the year 4 PART 1 LANDSCAPE APPRECIATION CENTRE GROUNDING CHAPTER 01- PREFACE CHAPTER 05 – PRECEDENTS 1.1. Introduction 5.1. Introduction 1.2. Problem Statement and Aims 5.2. Giants Causeway Visitors Centre 1.3. Research Methodology 5.3. Sancaklar Mosque 5.4. Warrumbugle National Park CHAPTER 02 – CONTEXT 5.5. Kavo Gkreko Visitor Centre 2.1. Introduction 5.6. Natura Vive Skylodge Adventure Suites 2.2. Macro Context 5.7. Evans Tree House 2.3. Meso Context 5.8. E’Terra Samara 2.4. Micro Context 5.9. Inspirational Inuences 2.5 Conditions on site 2.6. Conclusion CHAPTER 06 - THEORETICAL GROUNDING 6.1. Introduction CHAPTER 03 – HISTORY OF THE PLACE 6.2. Biophilia 3.1. Introduction 6.3. Conclusion 3.2. Lesotho 3.3. Semonkong CHAPTER 07 – CONCLUSION 3.4. Tourism and statistics 7.1. Introduction 3.5. Conclusion 7.2. The Client 7.3. The Brief CHAPTER 04 – SEMONKONG ECOLOGY 7.4. Accommodation list and facilities 4.1. Introduction 4.2. Semonkong Ecology 4.3. Conclusion 5 TABLE OF CONTENTS PART 2 LANDSCAPE APPRECIATION CENTRE APPLICATION [MAKING] CHAPTER 08 – DESIGN DEVELOPMENT CHAPTER 12 - REFLECTION 8.1. Introduction 12.1. Reection on the outcome and 8.2. Touchstone experience of the year 8.3. Conceptual ideas - Fluidity CHAPTER 13 – BIBLIOGRAPHY - Fragments of Time - Fingerprint [Identity] 84. Conceptual Framework 8.5. Model and sketch development CHAPTER 09 – DESIGN SYNTHESIS 9.1. Introduction 9.2. Functional composition 9.3. Response to climate and context [IDENTITY] 9.4. Theoretical application 9.5. Final design CHAPTER 10 – TECHNICAL REPORT 10.1. Introduction 10.2. Technical data and resolution CHAPTER 11 – CONCLUSION Fig. 04 Maletsunyane Waterfalls 6 TABLE OF CONTENTS The Maletsunyane Waterfalls plummets at a height of 192m from a ledge of Triassic-Jurassic basalt and is one of the highest single dropping waterfalls in the Southern Hemisphere. It is found in the town of Semonkong (the place of smoke), which it was named after due to the misty cloud that the fall creates in the enormous gorge. This waterfall is the main generator for the project. Therefore the focus of this Landscape Appreciation Centre is not the building, but rather the context and landscape within which it is placed. This architectural exploration aims to investigate identity as a conceptual theme to produce an appropriate and sensitive place for tourist and locals alike. The conceptual framework will take into account the site, vernacular context and culture of the Basotho nation in order to create a meaningful place that respects its surroundings. This intervention aims to utilize the principles and benets of biophilia as grounding for the proximity of the project to the waterfall and vast landscape. “The longest commercially operated single-drop abseil is one of 204m down the Maletsunyane waterfall at Fig. 05 Semonkong lodge, Semonkong, Lesotho” Birds’ eye view of the proposed site (Guinness world record, 2005) in relation to the waterfall 7 01 - PREFACE Proposed site Maletsuyane waterfall The in-between (gorge/donga) Fig. 06 Site section showing the relationship between the site, donga and the waterfall 8 01 - PREFACE 1.2. PROBLEM STATEMENTS TOPOLOGY Ÿ Due to the focus of this project being the landscape, the manner in which the building meets the ground becomes important Ÿ How to integrate the building harmoniously with the site slope majestic surrounding MORPHOLOGY Ÿ There are currently no pause spaces for people to enjoy the full grandeur of the site Ÿ Due to the lack of buildings around the area, it is imperative to not impose on the landscape with forms and volumes of an alien nature TYPOLOGY Ÿ The closest sleeping and dining facilities are found at the Semonkong lodge, which is situated near the bank of the Maletsunyane River, approximately 4km away from the waterfall. This means that time spent around the waterfalls is limited due to the lack of accommodation facilities. TECTONICS Ÿ How to latch onto a cliff in a sensitive manner Ÿ How the structure addresses the slop of the site Fig. 07 North view from the site looking towards the waterfall 9 1.2. AIMS Ÿ The topographical aim is to investigate the site intensively so as to reach a design solution which ‘disappears’ within the landscape Ÿ A design solution which respects the landscape to create a meaningful place Ÿ To create a building which responds responsibly to the climatic conditions of the site Ÿ To create forms which relate to the culture and immediate context through an investigating of the Basotho identity Fig. 08 Ÿ To study the vernacular architecture and utilize some of the local design East view from the site motifs Ÿ One of the main aims for this project is to create an experience for tourist to explore the area through an exciting but sensitive architectural intervention Ÿ To create shelter and a resting place for those who journey to the Maletsunyane waterfalls Ÿ To provide sleeping pods hung from the building and on to the cliff to offer spectacular views to the falls Ÿ To produce a sustainable building which utilizes locally available materials and requires minimal mechanical climate control Fig. 09 North-west view from the site 10 01 - PREFACE 1.3. RESEARCH METHODOLOGY The design and research methodology is formed around the following sources of knowledge in relation to architecture: The what (Typology) This refers to the classication and type of building The where (Topology) Investigating the landscape which the building is placed The how (Morphology) The study of the building form and volumes. The how (Tectonics) This refers to how the building is put together. The construction of the design as both a science and art. Analysis The Macro, Meso and Micro analysis. These are based on cognitive and quantitative data collected within the context. Site investigation Ÿ Cognitive analysis - The phenomenological experience of the site and its context. Ÿ Quantitative data - This refers to the denite physical measurements of the site. Ÿ Qualitative information - Conceptual and descriptive information such as light, noise and pedestrian movement patterns. Theoretical grounding Critical analysis of the literature discussed which supports the design Precedent and case studies Analysis of other architectural solutions with regards to the site, type of building, form and technologies used. Fig. 10 Maletsunyane Waterfalls from the proposed site 11 01 - PREFACE Touchstone An abstract interpretation of the initial idea. Captures the essence of the design concept and can be used to test the consistency of the initial idea. Conceptual framework This is a culmination of ideas gathered from the touchstone, precedent studies and the design concept. Interpretive analysis The author’s interpretation and understanding of the themes discussed. Cognitive analysis Personal experiences relevant to the themes and design synthesis. Creative and critical reection Reection and interpretation of the writings used. Orientation diagram THEORETICAL LANDSCAPE CONCEPTUAL DISCOURSE APPRECIATION DESIGN CENTRE TECHNICAL RESOLUTION Fig. 11 Abstract mapping of the site [Feeling] 12 01 - PREFACE 2.1. Introduction 2.2. Macro Context 2.3. Meso Context 2.4. Micro Context 2.5. Conditions on site 2.6. Semonkong Climate 2.7. Conclusion Fig. 12 Scenic view from the site (online) 13 02 - CONTEXT 2.1. INTRODUCTION This chapter is about the location and context of the proposed Landscape Appreciation Centre in order to give orientation of the site. It sets a framework for the possibilities in which the design can take by exploring and analyzing the conditions of the site from a macro scale to a micro scale. This is a crucial step for this project considering that it is situated in an almost remote and rural landscape. A thorough understanding of the site can determine important aspect of the design and assist in generating an appropriate Appreciation centre in the maluti mountain range of Lesotho. 14 02 - CONTEXT 2.2. MACRO CONTEXT Geography and location Lesotho is an independent, sovereign and democratic country which is completely surrounded by the Republic of South Africa. Botha-Bothe Leribe Berea Mokhotlong Maseru Thaba-Tseka Mafeteng Qacha’s Nek Mohale’s Hoek LESOTHO Quthing SOUTH AFRICA LESOTHO Fig. 13 Fig. 14 Map of Africa indicating the location of Lesotho Map of Lesotho showing the location of Semonkong within South Africa 15 02 - CONTEXT MASERU BORDER BRIDGE SEMONKONG Geography and location The Kingdom of Lesotho is situated between latitudes 28 degrees and 31 degrees south and longitudes 27 degrees and 30 degrees east, making it completely outside the tropics. It has an approximate area of 30 555km2 , which makes it a little larger than the State of Maryland in United States of America and about the size of Belgium (Stoddard, 2019: online). It has rugged mountain ranges and is the only country in the world with all of its land being at altitudes higher than 1000m above sea level. Thabana-Ntlenyana is the highest mountain in Southern Africa at 3 482m elevation, while Maletsunyane is the highest single drop waterfall in Southern Africa at 192m (Stoddard, 2019: online). BLOEMFONTEIN MASERU 143KM MASERU 118KM SEMONKONG Fig. 16 Fig. 15 Map indicating the distances between Bloemfontein in the Free State The district of Maseru and the proposed site in Semonkong Lesotho 16 MASERU BORDER MASERU CBD SEMONKONG 02 - CONTEXT 2.3. MESO CONTEXT Lesotho can be accessed through South Africa by road, rail or air. It is an hour and a half by road f r o m B l o e m f o n t e i n a n d f o u r f r o m Johannesburg. A ight from Johannesburg to Semonkong Air strip Lesotho takes one hour. Semonkong market centre Semonkong Lodge Maletsunyane River Maletsunyane Waterfall Cliff edge PROPOSED SITE Fig. 17 The town of Semonkong (Chief surveyor general, 2018) 17 02 - CONTEXT 2.3. MESO CONTEXT Maletsunyane River Adjacent village Current abseiling point Maletsunyane Fig. 18 Waterfalls Site analysis showing wind and sun direction on site PROPOSED SITE Access route Main entrance to site Man-made ploughing patterns Fig. 19 Birds’ eye view site analysis showing the access route Fig. 20 Meso analysis of site 18 02 - CONTEXT 2.3. MESO CONTEXT Residential buildings Farming locations Waterfalls Gorge Site Cliff edge Fig. 21 Fig. 22 Site analysis Scale 1:20 000 Site analysis Scale 1:20 000 19 02 - CONTEXT 2.3. MESO CONTEXT Green spaces Valleys Fig. 23 Fig. 24 Site analysis Scale 1:20 000 Site analysis Scale 1:20 000 20 02 - CONTEXT 2.3. MESO CONTEXT Maseru is the capital city of Lesotho and is situated on the Caledon river separating Lesotho and South Africa. Fig. 26 Semonkong central market and trade Fig. 27 Fig. 25 Semonkong central market and trade Site contours 21 02 - CONTEXT Located in the District of Maseru is a community council called Semonkong, which translates to “place of smoke”. This place was established as a refuge for Basotho that were displaced by the Gun War in the 1880s. Fig. 28 Fig. 29 Semonkong locals at the proposed site offering horseback rides to visitors Locals at the proposed site offering horseback rides to visitors 22 02 - CONTEXT 2.4. MICRO CONTEXT Fig. 31 Site analysis sketch Proposed position of the Appreciation Centre Slope direction on site Existing farming patterns Hill top adjacent to the site. This creates drama as one approaches the Landscape Appreciation Centre Site boundary Vehicular site entrance is located toward the Fig. 30 South-eastern corner of the site Site analysis Scale 1:5 000 23 02 - CONTEXT 2.4. MICRO CONTEXT Fig. 32 Gorge and waterfall Maletsunyane view from site Waterfall. Northen view from site Cliff edge Proposed site Fig. 33. Site Fig. 34. Site map 24 02 - CONTEXT 2.5. CONDITIONS ON SITE In the dissertation, Landscape Appreciation Centre refers to heritage and nature interpretation facilities aimed at evoking feelings for nature. It is about communication between man and nature rather than information. The intention is to assist visitors to form a positive and personal relationship with the cultural landscape and nature of Maletsunyane. The Appreciation Centre is about enhancing the experience through the landscape. Gorge/donga Fig. 36. Proposed site Adjacent hill that hides the site as one approaches Existing farming on site Proposed site Proposed site for sleeping pods on cliff Fig. 35. Proposed site 25 02 - CONTEXT Fig. 37. South-east view from the proposed site 2.5. CONDITIONS ON SITE Approach to site Existing vehicle road condition Proposed site hidden by hill creating suspense and opportunity for drama as one approaches the cliff Hill hiding the waterfall and proposed site Existing vehicle road to proposed site Fig. 38. Proposed site 26 02 - CONTEXT 2.5. CONDITIONS ON SITE Maletsunyane Waterfall Proposed site Access road Existing farming on site Fig. 39. Proposed site Existing trees towards the west of the site Cattle grazing portion of the site Locals use this land for farming and agriculture Large rocks on site which can be used for construction Fig. 40. Proposed site 27 02 - CONTEXT 2.5. CONDITIONS ON SITE Electricity available on site Fig. 41. Proposed site main approach to cliff 28 02 - CONTEXT 2.5. CONDITIONS ON SITE Existing hill convenient for viewing the waterfall with less obstructions Proposed site A combination of rock and soil on proposed site Fig. 42. Proposed position of the Landscape Appreciation Centre. 29 02 - CONTEXT 2.5. CONDITIONS ON SITE Fig. 43 Fig. 44 Fig. 45 Fig. 46 Fig. 48. Fig. 47. Fig. 49. 30 02 - CONTEXT 2.6. CONCLUSION This chapter established the orientation and physical conditions on the site. This is imperative to understand for any architectural exploration in order to respond appropriately to the voice of the site and genius loci. The spirit of place serves as one of the main generators for the conceptual framework explored later in the design development chapter. After exploring the physical attributes of the immediate context, the next chapter gives background on Lesotho as a nation and its people. 31 02 - CONTEXT Fig. 50. West view from site (online) 32 02 - CONTEXT 3.1. Introduction 3.2. Lesotho 3.3. Semonkong 3.4. Tourism and statistics 3.5. Conclusion Fig. 51. Abseiling along side the Maletsunyane Waterfall 33 03 - HISTORY OF THE PLACE 3.1. INTRODUCTION The following chapter is about the history of Lesotho and tourism statistics within the country. It identies the culture of Basotho so as to provide a thorough understanding of the context. This chapter also details Semonkong lodge, which is the current tourist accommodation located an hour's hike away from the proposed site. Time-lines of relevant occurrences are also provided within this section. 34 03 - HISTORY OF THE PLACE 3.2. LESOTHO Identication The Kingdom of Lesotho was previously called Basutoland and was formed by King Moshoeshoe I in the 1800s. These names both derive the Sotho language which was the predominant dialect used by the groups Moshoeshoe united to form this nation (Stoddard, 2019: online). Lesotho is also referred to as the “Kingdom in the Sky” due to its unique geographical height and impressive rugged mountain terrain. Symbolism The Basotho hat is a unique conical woven piece of craftsmanship which is derived from the shape of a mountain with a topknot located in Thaba-Bosiu. The shape of this particular mountain called Thaba Qiloane, became an essential symbol of Lesotho's unication because it is visible from the top of Thaba Bosiu, where King Moshoeshoe I protected and formed the nation. This indicate that Basotho draw their inspiration from the natural environment and context. This symbolic icon is also used on the national ag (Stoddard, 2019: online). Another recognizable symbol representation of Lesotho is the brown emblem used in the 1987 to 2006 ag. This nostalgic icon comprised of a traditional Basotho shield, a club (knobkierrie), lance and thyrsus in the middle. The club, lance and shield are typical traditional objects for war, while the thyrsus was used as decoration. This presents an interesting hypothesis that Basotho have always been conscious of beauty. Basotho are also identiable by their distinctive wool blankets which they wear as cloaks. These are worn by both men and women in the culture. They are available in numerous colours and patterns mostly derived from their natural environment. Fig. 52. Fig. 53. Fig. 54. Fig. 55. Flag from 1966–1987 Flag from 1987–2006 2006 till present day Local resident of Semonkong heading to the market 35 03 - HISTORY OF THE PLACE Lesotho's remarkable scenery of rugged mountains, enormous gorges and exceptional waterfalls create an enticing tourist destination. Herd boys with their ocks, men on horseback, women in their colourful traditional dresses and picturesque villages all add to the unique spirit of place. Fig. 56. Local resident of Semonkong offering horseback rides to tourists at the proposed site 36 03 - HISTORY OF THE PLACE 3.2. LESOTHO Time line of important events regarding the development of Lesotho The river gorges contain King Moshoeshoe united the The country gained its independence and the Kingdom of drawings and illustrations Sesotho-speaking inhabitants Lesotho was established. The next king and head of state was wh ich ind icate that and created fortresses in the Moshoeshoe II, the great-grandson of Moshoeshoe I, while Lesotho was in i t ia l ly mountains Leabua Jonathan served as head of government prime head inhabited by Bushmen of state. The Basotho are bonded by a deep respect for the who roamed Southern royal family and strong determination to remain independent, Africa despite Lesotho having gone through political strife and change in the last thirty years (Stoddard, 2019: online). Wars between different ethnic After the Basotho people lost g r o u p s i n S o u t h e r n A f r i c a most of their territory due to a d e s t r o y e d m a n y t r i b e s . chain of wars, Moshoeshoe Moshoeshoe I gathered and turned to Great Britain for protected the survivors into the protection and the remaining highlands of what is now known as l a n d b e c a m e a B r i t i s h Lesotho, and then formed the protectorate. present-day Basotho ethnic group. 37 03 - HISTORY OF THE PLACE 1700 1800 1900 2000 2100 Fig. 57. Tourists posing on horseback with the Maletsunyane Waterfall as the backdrop 38 3.2. LESOTHO Architecture, urbanism and the use of space More than 80 percent of the country's inhabitants live in the lowlands where the conditions of soil are more favorable for farming. One of the highest population densities is at the western border of Lesotho. Maseru is located in this western region of the country with a population of four hundred thousand inhabitants. The main infrastructure and thoroughfare of this capital city was ruined in 1998 when a frenzy of looting and burning resulted from political conict. Most of the town has been rebuilt but numerous historical buildings were lost in the turmoil. Semi-urban regions are referred to as “camptowns” and possess a rustic appearance. Some of the main camptowns include Leribe, with a population of three-hundred thousand; Mafeteng with over two-hundred thousand; Mohale's Hoek at one hundred and eighty thousand; Teyateyaneng with twenty-four thousand residents. Villages in Lesotho often have a population of less than 250 people. Traditional huts are built out of thatched roofs and mud walls mixed with dung. Cattle krall (pen) is the center of family groups who construct their huts in a spaced manner around the pen. These rondovals (round dwelling) are frequently adorned with bright design patterns called 'litema' in Sesotho. The plots of land between villages are owned in common by the people and allocated by the chief for family farming. Khotla is a meeting place found in each village which is used for conducting business and local trials. Fig. 58. The conical traditional Basotho woven hat 39 03 - HISTORY OF THE PLACE Lesotho is unique with terrain that consists of high veld, mountains Trade and plateau. The climate is temperate with hot summers and cool Lesotho has trade relations with the United States, Botswana, to cold winters. A long rainy season during the summer months Namibia, Swaziland, and Australia. Maize, shoes, construction (December to February) combined with freezing conditions in the materials, vehicles, petroleum products, machinery and winter (June to August) creates adverse travel conditions which medicines are the primary imported items. Exports include isolate much of the highland areas. The abundance of rivers and clothes, furniture, shoes and wool pieces. waterfalls makes Lesotho valuable to South Africa's neighboring arid industrial areas. Lesotho's government is a constitutional monarchy with Maseru's capital. The country is divided into ten districts. Land Tenure and Property The king holds all land in trust for the nation of Basotho and may not be alienated. Regional chiefs assign lands to individuals, and married males generally have access to user rights. A 1979 act increases tenancy protection by documenting inheritance rights and allowing land to be mortgaged. The latest land act was updated in 2010 (Stoddard, 2019: online). Fig. 59. Typical Basotho hut with patterns called litema. 40 03 - HISTORY OF THE PLACE 3.3. SEMONKONG Fig. 60. Local residents of Semonkong offering horseback rides In 1990, Armelle & Jonathan Halse took over the management of the to tourists at the proposed site Semonkong Lodge of the Frasers Trading Company. Started by Syd Chaplain of Maluti Treks, the site on which the lodge stands was a popular camping base for pony trekkers and y shermen looking to catch the famed brown or rainbow trout. Today, on the banks of the Maletsunyane River, the lodge has expanded to 23 stone and quech quarters (Semonkong Lodge, 2019). Deeply embedded in the Semonkong Village and just a stone's throw away from the village, the lodge is always busy with activity as the Basotho people go about their daily lives. The balcony outside the Duck and Donkey Tavern provides a fascinating view of Lesotho's daily life as the Basotho's ride gracefully past on their ponies in their straw hats and traditional blankets, accompanied by pigs, cats, goats and donkeys scuttling. They regularly transport food and supplies from Semonkong to their villages, often days away, and including large amounts of beer. Semonkong lodge believes in improving people's lives within the local community, using the environment and its sustainability as the cornerstone of all operations, generating sustainable long-term income to as many people as possible through tourism. The activities they offer provide jobs & aim to conserve the environment (Semonkong Lodge, 2019: online). Semonkong Lodge offers a glimpse of life in “The Kingdom in the Sky”, with activities such as abseiling and pony rides. 41 03 - HISTORY OF THE PLACE 3.3. SEMONKONG Time line depicting tourism and trips of leisure to Semonkong Ken Short Smith and Jan du Pree stocked the Maletsunyane river with trout while camping at the site where Semonkong lodge is today. This LANDSCAPE campsite was ideal for trout shing visitors due to APPRECIATION CENTRE its close proximity to the landing strip Syd Chaplain sold his business to Frasers Trading Company Syd Chaplain started a pony trekking Armelle & Jonathan Halse took over and trout shing safari business called the running of Semonkong Lodge Maluti Treks. He later built wooden from the Frasers Trading Company huts which were the begging of Semonkong Lodge. 42 1900 1950 2000 03 - HISTORY OF THE PLACE 3.4. TOURISM AND STATISTICS Visitors to Lesotho A further 22% motivated by the scenery and culture, especially for the North South Africa is subject to over 90% of all visitor arrivals (day travellers or American and European markets than those living in Africa. tourists). Only under one-quarter (28%) of all tourist arrivals travel for recreational activities, with 11% traveling for Industry, and the other Gender and Age of visitors to Lesotho two-thirds (61%) traveling for Visiting Friends and Relatives (VFR) and Males constituted 58% of all visitors to Lesotho overnight, with women other reasons in 2016.Tourists from Europe and North America y representing the remaining 42%. Males aged 35-44 (15% of all arrivals) are primarily for pleasure to Lesotho (73%), with only 8% travelling for trade the largest demographic group to visit Lesotho. Of the female visitors, the and 19% traveling for VFR and other reasons (Lesotho Exit Visitor 25-34 year-olds are the largest group, comprising 10 % (Lesotho Exit Visitor Survey Report, 2017: 5). Survey Report, 2017: 31). More than two-thirds (70%) of all visitors have previously visited Planning a visit Lesotho. Previous visits are maximum among citizens from South All tourists stay in Lesotho for an average of 5.3 nights. At 12.7 days, visitors Africa (74%) and Botswana (69%). Tourists from the major European from the US stay the longest, followed by the rest of Africa (8.4 nights) and and American regions are less likely to have previously visited: the UK the rest of Asia / Pacic (7.2 nights). Netherlands visitors spent the shortest (37%), the USA (31%), the Netherlands (24%), Germany and France time at 2.7 nights in Lesotho. With business and VFR tourists staying an (19%) (Lesotho Exit Visitor Survey Report, 2017: 5). average of 8 nights in Lesotho, leisure tourists stay an average of 3.5 nights. (Lesotho Exit Visitor Survey Report, 2017:13). Inspiration for visits Almost one-third (30%) of leisure visitors were motivated to visit Lesotho by mountains or high places. Fig. 61. Fig. 62. Fig. 63. Highlights of trips by visitors (……… ,26) Displeasures of trips to Lesotho (……… ,27) Improvements suggested for by tourists (……… ,27) 43 03 - HISTORY OF THE PLACE 3.4. TOURISM AND STATISTICS Places to visit The Katse Dam is the most popular place for overnight visitors (tourists), at 15%, while 10% or more visit Afri Ski, Sani Pass and Semonkong. Thaba Bosiu is Botswana's most popular tourist destination in Lesotho while Semonkong is mostly visited by tourists from France, the United Kingdom and USA (Lesotho Exit Visitor Survey Report, 2017:15). General sightseeing is Lesotho's most common overnight visitor activity representing 27% of all trips to the country. Hiking accounts for another 20% and pony trekking for 11%. All of these attributes are available at Maletsunyane but lack facilitation, giving grounding to the need for a Landscape Appreciation Centre. The top six most popular activities for leisure are general sightseeing, Fig. 64. hiking, skiing, biking, rock climbing and 4x4 trekking. Therefore, these Indication of the most are the clear activities on the leisure sector in Lesotho. visited places in Lesotho At different times of the year Lesotho provides very different activities. Monthly analysis shows explicitly the prominence of hiking in July- August, biking in November, shing in January and rock climbing in June-August (Lesotho Exit Visitor Survey Report, 2017:17). Fig. 65. Arts and Crafts by Basotho 44 03 - HISTORY OF THE PLACE 3.4. TOURISM AND STATISTICS Maletsunyane river Semonkong lodge Semonkong lodge accommodation units Fig. 66. Aerial view of Semonkong Lodge situated at the Maletsunyane river bank Accommodation Types While visiting Lesotho, 39% of all overnight guests stay at a hotel or lodge. About 33% live with family or friends and 10% stay in Bed and Breakfasts. South African tourists are almost equally likely to stay at a hotel/lodge or with family and friends, while tourists from Botswana are much more likely to stay with family and friends. Tourists from the International markets prefer their lodging in hotels or lodges (Lesotho Exit Visitor Survey Report, 2017: 19). Fig. 67. Cycling in the rugged mountains of Lesotho 45 03 - HISTORY OF THE PLACE 3.4. TOURISM AND STATISTICS Accommodation units at Semonkong Lodge Maletsunyane river Fig. 68. Fishing at the Maletsunyane river Country of Residence Total Visitor Arrivals % Share South Africa 1,081,227 90.4% Fig. 69. Tourists on pony rides through the mountains of Semonkong Zimbabwe 20,835 1.7% USA 10,026 0.8% Botswana 8,972 0.8% Germany 7.955 0.7% Netherlands 7,856 0.7% Swaziland 5,006 0.4% UK 4,970 0.4% France 1,791 0.1% Other 47,576 4.0% Total 1,196,214 100.0% (Lesotho Exit Visitor Survey Report, 2017) 46 03 - HISTORY OF THE PLACE 3.5. CONCLUSION In conclusion, this chapter revealed the culture of the Basotho people together with the qualities of the place which attract visitors. This chapter set precedence to why tourists visit Lesotho, and also details who does and when. Fig. 70. Fishing at the Maletsunyane river Fig. 71. Tourists on pony rides through the mountains of Semonkong 47 03 - HISTORY OF THE PLACE Fig. 72. Maletsunyane Waterfall 48 03 - HISTORY OF THE PLACE 4.1. Introduction 4.2. Semonkong Ecology 4.3. Conclusion Fig. 73. Indigenous spiral aloe found in Lesotho 49 04 - SEMONKONG ECOLOGY 4.1. INTRODUCTION This next chapter details the plant and animal life available at Semonkong. This acts as an extension of site analysis where understanding the context is imperative for both the theoretical grounding and spacial requirements. A clear understanding of the fauna and ora also gives reasons to why tourists can visit the area. 50 04 - SEMONKONG ECOLOGY 4.2. SEMONKONG ECOLOGY Fauna Fig. 74. Fig. 75. Fig. 76. Fig. 77. Fig. 78. Fig. 79. 51 04 - SEMONKONG ECOLOGY Bearded vulture Bald Ibis Jackal Buzzard Black Eagle Ground Woodpecker Grey Rhebok Fig. 80. Fig. 81. Winter in Semonkong Winter in Semonkong Fig. 82. Winter in Semonkong Fig. 83.Winter in Semonkong 52 04 - SEMONKONG ECOLOGY 4.2. SEMONKONG ECOLOGY Flora Group: Aloe Polyphylla Group: Dierama Robustum Group: Dicotyledons – Cotyledon Group : M o n o c o t y l e d o n s – Typical name: Spiral Aloe Typical name: Hairbell Orbiculata Kniphoa Caulescens Sesotho name: Kharetsana Sesotho name: Lethepo Typical name: Pig’s Ears Typical name: Lesotho Red-hot Poker Endemic to Lesotho and the 1-2m in height, alone or in small Sesotho name: Sereleli National Flower, an endangered clumps, 1600-2900m. Linear This plant's succulent leaves are Sesotho name: Khaputlane c r o p . D i s t i n c t i v e s p i r a l leaves . Inorescence – on a thin, shaped like the ears of a pig. Red- Robust and most ly in large arrangement of the leaves in the s lender, nodding stem, 2-5 bell shaped owers (Nov-Feb). clusters, up to 3000m in marshes clockwise and anti-clockwise owered sp i ke . Pendu lous Inorescence. The edge of the and wet cliffs. Blue-grey-green direction, giving it a strange owers, white to pale pink or leaves is often red. Found on leaves of dense rhizome. Pink to symmetrical appearance. The mauve owers in the shape of a steep slopes and cliffs 2000- red coral buds arranged at the leaves are large with a greyish bell (Dec-Feb). 3000m. top of a rm erect stalk in a green colour, often smooth on Widespread in high altitude Value : A vaccine for many tapering row. Pale greenish- the margins with greenish thorns. grassland. illnesses, usually used for bites of yellow to translucent yellow Legal ly protected, but not bees and insects. Leaves infusion owers (Jan-Mar). Staffs stand out Value: Used for serotos (grass enforced (Semonkong Lodge, ( S em o nk ong L o d g e, 2 0 1 9 : baskets). The stem can be used to is good for an abscess in the ear 2019: online). online). play musical instruments like and boils. Antiseptic qualities. Value: After a burial, in a mixture setolo-tolo and lekope. of water and aloe juice, one ought to wash their hands to remove all bad spirits. Fig. 84. Spiral Aloe Fig. 85. Hairbell Fig. 86. Pig’s Ears Fig. 87. Lesotho Red-hot Poker 53 04 - SEMONKONG ECOLOGY 4.2. SEMONKONG ECOLOGY Flora Group: Iridaceae – Iris Family – Group: Zantedeschia Aethiopica Group: Gladiolus Saundersii Group : Monocoty ledons – Moraea Huttonii – Araceae T y p i c a l n a m e : S a u n d e r s Õ Merxmuellera Macowanii Typical name: Large Golden Vlei Typical name: Spotted-leaved Gladiolus / Lesotho Lily Typical name: Mountain Grass Moraea / Yellow Iris Arum Lily Sesotho name: Mokhabebe Sesotho name: Moseha Sesotho name: Tele Sesotho name: Mohalalitoe Long, robust, upright leaves. A perennial tufted grass with at, Broad, iris-like, bright yellow ower The leaves are triangular with Inorescence erect. Big and yellowish to golden brown leaves. with darker, yellow-brown nectar broad basal lobes, either plain bright red owers with a large Spikes on the green grassland marks close to the throat of the green or white-blotted. The ower white mark on lower tepals. look yellow. Folded closely with ower, with dark brown blotch on is cylindrical, white or cream with Facing down and hooded. age. Inorescence. each crest s ty le(Sep-Oct) . a deep purple patch in the throat Endemic. Value: Items such as brooms, Sweetly fragrant, in clumps along or without it (Nov-Dec). Green Value: Herdboys suck the owers ' mats, pots, ropes and hats are mountain streams and rivers. fruit and stems fall to the ground nectar. It is also consumed as a made from this grass – the most Value: A beautiful garden ower. Value: For kidney and bladder salad. popular of which is the iconic problems, roots are infused and Basotho hat (Semonkong Lodge, taken internally as a gargle for 2019: online). sore throats and mouth ulcers ( Semonkong Lodge, 2019 : online). Fig. 88. Yellow Iris Fig. 89. Spotted-leaved Arum Lily Fig. 90. Lesotho Lily Fig. 91. Mountain Grass 54 04 - SEMONKONG ECOLOGY 4.2. SEMONKONG ECOLOGY Flora G r o u p : E u p h o r b i a c e a e – Group: Mesembryanthemaceae Group: Mentha Longifolia Euphorbia Clavarioides – Delosperma Lavisiae Typical name: Wild Spearmint Typical name: Lion’s Spoor Typical name: Mountain Vygie Sesotho name: Koena-ea-thaba Sesotho name: Sehloko Sesotho name: Mabone Perennial herb with long spiked Consisting of densely crowded A delicious perennial herb found leaves and quadrangular stems, leaves, a perennial succulent in rocky areas. Stems prostrate. with leaves of green or brown. It p r o d u c i n g c o n v e x s t r o n g Leaves with blunt tips are round to has a mint scent , ra i sed in cushions whose main stem grows 3-angled. Inorescence branch. pyramid-shaped clusters of violet underground. The roots are M a g e n t a  o w e r s o n t h e or white owers. brownish to olive green, rounded stalks(Nov-Mar). Endemic. Value: Sedative, used for colds at tops. The milky latex that Value: Used as a bathwater and fever. Insect repel lant. characterizes this family gives a cleaner. Basotho also place it in their noses pungent smell to this species. to avoid the inhalation of cold Value: Herdboys use the milky winds, as well as nasal congestion. latex on their foot soles to heal cracks or chaff and chew the milky latex when it is dry. Heals body rashes and can be used with clay to heal pimples. Used for b i r d l i m e p r e p a r a t i o n ( Semonkong Lodge, 2019 : online). Fig. 92. Lion’s Spoor Fig. 93. Mountain Vygie Fig. 94. Wild Spearmint 55 04 - SEMONKONG ECOLOGY Fig. 95. Maletsunyane Waterfall 56 4.4. CONCLUSION This investigation into the ecology of Semonkong concludes the study of the context. It indicates the ora and fauna of the area to present reasons why tourists visit the place. 57 04 - SEMONKONG ECOLOGY Fig. 96. Herdboy in Semonkong 58 04 - SEMONKONG ECOLOGY 5.1. Introduction 5.2. Giants Causeway Visitors Centre 5.3. Sancaklar Mosque 5.4. Warrumbugle National Park 5.5. Kavo gkreko visitor centre 5.6. Natura Vive Skylodge Adventure Suites 5.7. Evans Tree House 5.8. Land Art 5.9. Inspirational Inuences Fig. 97. Cliff Top Retreat 59 05 - PRECEDENTS 5.1. INTRODUCTION The following chapter explores some of the precedent studies and inuences that inspired the design motifs utilized within the Appreciation Centre design process. These precedents inform the type of building, treatment of the site, the conceptual approach, appropriate materials and structures to consider. Land art is also brought fourth due to its ability to capture the spirit of place in a sensitive manner. 60 05 - PRECEDENTS 5.2. GIANTS CAUSEWAY VISITORS CENTRE PRECEDENT OF TYPE Heneghan Peng Architects Completion: 2012 Location: Northern Ireland Ÿ The outer stone mullions surrounding the visitor center emulate the volcanically shaped basalt columns of Giant's Causeway. Ÿ Formed about 60 million years ago by the basalt lava process, the causeway is Northern Ireland's most popular tourist attraction and contains over 40,000 columns that descend from the cliff's Fig. 98. Interpreting the verticality motif used to create a building that ts into its environment foot into the sea. Ÿ An exhibition rooms, a café, toilets and a gift shop are available. Ÿ Described as “Two folds into the landscape”. The rst fold rises from the ground to create a building with a sloping grass roof, while the second folds down to form a parking lot and an entrance that reaches the level of the approaching road. Ÿ “It is a carefully sculpted intervention,” say the architects. ”It is both visible and invisible; invisible from the cliffside yet recognisable from the land side.” Ÿ Visitors may climb the grassy roof, where skylights allow them to view the exhibition spaces. Ÿ The Giant's Causeway visitor center is experienced as an event along the road to the Causeway and the coastline Fig. 99. Giants Causeway Visitors Centre Ÿ The building can be interpreted internally as a series of oor plates connected by a series of ramps. Ÿ These oor plates allow the various activities of the building to stream into one another, providing a uid movement for the visitor through the building (Frearson, 2012: online). Fig. 100. Section through Giants Causeway Visitors Centre 61 05 - PRECEDENTS 5.2. GIANTS CAUSEWAY VISITORS CENTRE Points of note Ÿ How verticality is used in reference to the context Ÿ Movement through the building as an experience Ÿ The idea to mimic the surrounding in order to appropriately settle the building in a sensitive manner Ÿ The duality of being both visible and hidden Fig. 101. Giants Causeway Visitors Centre layout within its context Fig. 102. Giants Causeway Visitors Centre outer stone mullions 62 05 - PRECEDENTS 5.3. SANCAKLAR MOSQUE PRECEDENT OF SITE Architect: Emre Arolat Architects Location: Istanbul Completion: 2012 Ÿ The Sancaklar Mosque was constructed with a combination of light gray stone and reinforced concrete, which is set in a plaza made up of shallow terraced steps. Ÿ Stone pieces put in the sloping ground produce lines of steep, earthen steps leading down to the sunken house. Ÿ The structure blends entirely with the topography and the outside world as you walk through the mountains, down the hill and Fig. 104. Sancaklar Mosque terracing down with the slope of the site between the walls to reach the mosque Ÿ The design continuously plays off of the tension between the organic and manmade environment. Ÿ This dual relationship is strengthened by the contrast between the natural stone stairs following the natural slope of the landscape and the thick reinforced concrete slab extending more than six meters to form the canopy. Ÿ The mosque's interior is a simple cave-like space, which becomes a dramatic and amazing place to pray and be alone with God (Mairs, 2019: online) Fig. 105. Sancaklar Mosque terracing down with the slope of the site Fig. 103. Section through Sancaklar Mosque showing the dramatic roof Fig. 106. Sancaklar Mosque section 63 05 - PRECEDENTS 5.3. SANCAKLAR MOSQUE PRECEDENT OF SITE Points of note Ÿ How the architecture interacts and extends into the landscape using stone Ÿ How movement through the site can be manipulated by architecture Ÿ How to enhance the duality between man and nature Ÿ Using drama to evoke strong feelings and connect with nature Fig. 107. Fig. 108. Sancaklar Mosque nestled in the landscape Sancaklar Mosque interior Fig. 109. Sancaklar Mosque site plan Beacon in the landscape Point of orientation The hidden. Nestled withing the landscape Fig. 110. Sancaklar Mosque 64 05 - PRECEDENTS 5.4. WARRUMBUGLE NATIONAL PARK PRECEDENT OF CONCEPTUAL APPROACH TKD Architects Location: Warrumbungle, New South Wales, Australia Completion: 2018 Ÿ The new Warrumbungle Visitor Center radically addresses Warrumbungle National Park's landscape and cultural heritage Ÿ Warrumbungle National Park is renowned for its spectacular scenic beauty, rich biodiversity and geological quality, formed by an ancient volcano that is said to be 13-17 million years old. Ÿ The new Warrumbungle Visitor Center architecturally interprets the geology of the site through the key concept of fracture; geological separation Ÿ With its strong curving walls clad in 700 square meters of sandstone, the building reects the famous volcanic dykes and rock formations of the surrounding area. Fig. 111. Warrumbugle National Park Ÿ Geological, celestial and native relations are all part of the interior stone wall detail space drama. Ÿ The main room offers unhindered views of the famous Breadknife and Belougery Spire formations. Ÿ The new design provides a number of outdoor spaces for visitor interaction, education and quiet contemplation which relate to the Warrumbungle National Park's unique setting. Ÿ The new Visitor Center is a comfortable hub for National Park visitors to arrange lodging, access guest data sheets and charts, and register for the popular trail walks. Ÿ It is also an immersive exhibition area to reveal and view park stories (TKD Architects, 2019: online) Fig. 112. Warrumbugle National Park context 65 05 - PRECEDENTS 5.4. WARRUMBUGLE NATIONAL PARK PRECEDENT OF CONCEPTUAL APPROACH Points of note Ÿ Landscape and cultural heritage Ÿ Fracure; geological separation Ÿ Offer unobstructed views Fig. 113. Warrumbugle National Park Fig. 114. Fig. 116. Warrumbugle National Park subtle curvature motifs to blend in with nature Fig. 115. Warrumbugle National Park approach to main entrance Fig. 117. Warrumbugle National Park stone cladding 66 05 - PRECEDENTS Fig. 120. Shaded courtyard 5.5. KAVO GKREKO VISITOR CENTRE PRECEDENT OF CONCEPTUAL APPROACH AND MATERIALITY Architects: Marios Economides, Maria Akkelidou and Christina Nikodemou Location: Ayia Napa, Cyprus Completion: 2015 Ÿ Cape Greco's Environmental Information and Education Center is a specialized exhibition and educational hub aimed at shaping public awareness of the issues posed by the coexistence of a fragile ecosystem consumer society. Ÿ This provides tourists with knowledge about the Cape Greco peninsula's land and aquatic habitats, and is a teaching centre for school children Fig. 121. Bringing the inside out Ÿ The project addresses issues of suitability of structure and typology in the sense of the site and architectural experience as a multi- sensory perception of space, space and scale. Cape Greco's genius loci, its colours and materiality, served as a catalyst for the emergence of a philosophy of place-creation focused on the dialectics of the actual nature of the location and design as a building poetic (Miesarch.com, 2015). Fig. 122. Interior textures and nishes Fig. 118. Fig. 119. Kavo gkreko visitor centre Section Conceptual development of Kavo gkreko visitor centre Fig. 123. Relationship between inside and outside 67 05 - PRECEDENTS 5.5. KAVO GKREKO VISITOR CENTRE PRECEDENT OF CONCEPTUAL APPROACH AND MATERIALITY Ÿ The building is a vessel of the characteristics of the surrounding landscape; at the same time, it is a narrative of the essence of the landscape through its spatial and material synthesis. The man- made area ' territory ' is surrounded and separated from the surrounding landscape by the long gabion walls lled with rocks from the eld. Ÿ The natural topography slopes gradually inside the house, intertwining with its spatial language in a rich narrative of motion and delay, air, light and shade open and enclosed. The structure is introverted; the landscape is implicitly and allusively exposed to the tourist once inside, reinforcing the dialectic between nature and the understanding of architecture (Miesarch.com, 2015: online). Fig. 124. Fig. 125. Kavo Gkreko Visitor Centre in its context Kavo Gkreko Visitor Centre in its context 68 05 - PRECEDENTS 5.6. NATURA VIVE SKYLODGE ADVENTURE SUITES PRECEDENT OF TYPE (SLEEPING PODS) Architects: Ario Ferri Ÿ The toilet is situated facing the suspended structure's exterior wall. Location: Cuzco, Peru Such location gives the user a spectacular view of the canyon Completion: 2013 below. Ÿ Hangs 400 meters above the Sacred Valley of Peru on the side of a mountain Fig. 126. Ÿ Each of the three suites measure 8.5 m x 2.4 m with four beds, a The sleeping suites on cliff dining area, a private bathroom and 300-degree views due to the design of aluminium and polycarbonate. Ÿ One has to climb Via Ferrata or go on a zipline ride to get to the sleeping suites. Ÿ The approach is part of the experience aimed at immersing visitors in nature and engaging them in a very visceral way to their surroundings (DiStasio, 2015: online). Fig. 127. Fig. 128. Fig. 129. Fig. 130. The sleeping suites on cliff Toilet in the suite with spectacular views Platform above suite for dining Multiple beds in one suite 69 05 - PRECEDENTS 5.6. NATURA VIVE SKYLODGE ADVENTURE SUITES PRECEDENT OF TYPE (SLEEPING PODS) Fig. 131. Fig. 132. Fig. 133. View from above View from inside Night view of the the suite the suite canon from the suites Fig. 134. Fig. 137. Skylodge adventure suites Skylodge adventure suites Fig. 135. Fig. 136. Fig. 138. Skylodge adventure suites Skylodge adventure suites Skylodge adventure suites interior 70 05 - PRECEDENTS 5.7. EVANS TREE HOUSE PRECEDENT OF MATERIAL AND STRUCTURE (SLEEPING PODS) Architects: Modus Studio Location: Hot Springs, Arkansas, United States Completion: 2008 Ÿ This tree house is built with steel and heat-treated pine Ÿ The design acts as an immersive, educational experience aimed at "returning kids to the woods” Ÿ It is designed to disguise itself in the scenery and be of the place's ecosystem – natural, and vibrant and enigmatic in Fig. 139. nature, deliberately stimulating the imaginations of children Series of the tree house plans about the forest. Ÿ Through lifting the frame, the team was able to protect the earth below, thus offering tourists a feeling of being among the canopies of the forest. Ÿ The frame consists of 113 ribs – 10 of which are made of steel, while the others are made of southern yellow thermal pine. Ÿ The method of thermalization requires the use of heat and steam to raise a yellow pine in the south. The method of thermalization Fig. 140. Fig. 141. requires the use of heat and steam to increase the strength and Interior of the tree house The tree house in its context sensitivity of a wood to the environment (McKnight, 2019: online). Fig. 142. The tree house frame 71 05 - PRECEDENTS 5.7. EVANS TREE HOUSE PRECEDENT OF MATERIAL AND STRUCTURE (SLEEPING PODS) Points of note Ÿ Using organic forms to t into the landscape Ÿ Finding innovative ways to manipulate wood for organic shapes Ÿ Attention to how the structure meets the earth Ÿ Patterns that blend with the context Ÿ Frame structures are light and dematerialized Fig. 143. T h e t r e e h o u s e f r a m e Fig. 144. elevated bridge as access Multiple levels inside the tree house Fig. 145. Evans Tree House Sections Fig. 146. Evans Tree House interior open to the outside 72 05 - PRECEDENTS 5.8. LAND ART Strijdom van der Merwe Ÿ As a land artist, he uses the resources supplied by the designated location. The sculptural structures of Strijdom van der Merwe take shape in comparison to the terrain. It is a method of using water, sand, rocks, wood etc., to interact with the natural world. Ÿ He shapes these components into geometric forms that interact with their surroundings, constantly changing until they are eventually destroyed. Ÿ While not lamenting its disappearance, he acknowledges the fragility of nature, what remains is a physical picture, a fragment of time, and eventually the imagination. Ÿ While a physical archive is physically all that exists, it also reminds us of an individual's ability to change the world, albeit frail, by accepting the ever-changing nature, actively contributing to it, thus moderating and embellishing the result (The Artists' Press, 2019: online). Fig. 147. Fig. 148. 73 05 - PRECEDENTS 5.8. LAND ART Strijdom van der Merwe Patterns in the landscape Fig. 149. Fig. 151. Fig. 154. Fig. 150. Fig. 152. Fig. 153. Fig. 155. 74 05 - PRECEDENTS 5.8. LAND ART Andrée Bonthuys created using owers and thorns, on a tree stump. Site_Specic / Cool Capital Nature Art Workshop Nina Faasen and Klara-Marie Leon Nigrini's enclosure projects on the Tina Fig. 158. Den Heijer used wattle branches to Skukan Gallery grounds. create arches Site_Specic / Cool Capital Nature Art Workshop Fig. 156. Fig. 157. Fig. 159. 75 05 - PRECEDENTS 5.8. LAND ART Fig. 160. Hokusai's Wave by Janet Ranson, arranged by Site Specic artists in the Western Cape on Witsands Beach during the second land art gathering. Chris Lochner used big, elongated Fig. 162. bark fragments (which he had to generate mostly by splitting the bark into these tall gures), trapped in the bark-part of the work in the stream. Fig. 161. 76 05 - PRECEDENTS 5.9. INSPIRATIONAL INFLUENCES Points of note Ÿ Articulation of how the structure meets the earth Ÿ The experience of taking the visitor on a ledge and over the cliff Fig. 165. Cliff Top Retreat by Alex Hogrefe Fig. 163. Cliff Top Retreat by Alex Hogrefe Ÿ Light-well creating remarkable transfer of light through the interior Ÿ Interior textures. Attention to materials used in relation to light quality Fig. 166. Cliff Top Retreat by Alex Hogrefe Fig. 164. Cliff Top Retreat by Alex Hogrefe 77 05 - PRECEDENTS 5.9. INSPIRATIONAL INFLUENCES Fig. 169. Glacier Skywalk in Jasper National Park Fig. 167. Fig. 170. E'terra Samara by Farrow Partnership Architects Glacier Skywalk in Jasper National Park Fig. 171. Glacier Skywalk in Jasper National Park Fig. 168. E'terra Samara by Farrow Partnership Architects. The idea of hanging a frame structure 78 05 - PRECEDENTS 5.9. CONCLUSION This chapter covered the most inuential precedent studies to the design of the Landscape Appreciation Centre. The investigation informed the type of building, landscape treatment and appropriate materials to be used within a similar context. Some presented tting conceptual approaches to the Appreciation Centre. With the design themes explored in this chapter, the next section investigates the theoretical discourse applied in the formation of the Maletsunyane Landscape Appreciation Centre. 79 05 - PRECEDENTS Fig. 172. Sancaklar mosque 80 05 - PRECEDENTS 6.1. Introduction 6.2. Biophilia 6.2.1. Dening biophilia and biophilic design 6.2.2. The history of biophilia in an architectural context 6.2.3. Benets and principles of biophilia 6.2.4. Design considerations 6.2.5. Characteristics and experiences of biophilic design 6.2.6. The ethical and environmental imperative 6.3. Conclusion Fig. 173. Proposed building position 81 06 - THEORETICAL GROUNDING 6.1. INTRODUCTION This chapter delves into the denition of biophilia and biophilic design in order to present adequate theoretical grounding for a culturally and contextually appropriate Appreciation Centre in the Maluti mountain range of Lesotho. The history of biophilia will also be explored in the context of the built environment to trace how some of the most recognized and inuential architects and artists have utilized this idea in the past. In addition to the history, principles and benets of biophilia will also be highlighted, followed by possible design considerations. The characteristics and experiences of biophilic design are also put forth to get a thorough understanding of this theoretical underpinning and its inuence in the context of Maletsunyane. This will then be concluded by an investigation into the environmental and ethical imperative presented by biophilic design discourse. This theoretical grounding intends to articulate the connections between nature and the built environment so as to maximize the benets of biophilia in a design application for tourists in Lesotho. In addition, it seeks to present a biophilic design framework that reects the most important nature-health relationships in the built THEORETICAL LANDSCAPE CONCEPTUAL environment – those known to enhance our lives through a DISCOURSE APPRECIATION DESIGN connection with nature. CENTRE TECHNICAL RESOLUTION 82 06 - THEORETICAL GROUNDING 6.2. BIOPHILIA 6.2.1. Dening biophilia and biophilic design A social psychologist by the name Eric Fromm was the rst to Most of what we consider normal today is of fairly recent. Large-scale coin the term ‘biophilia’ in his book ‘The Heart of Man’ published food production started in the last 12,000 years; urban development, in 1964 (Browning, Ryan and Clancy, 2014: 4). When dissected 6,000 years old; industrial production of goods and services, beginning and carefully studied, the notion ‘biophilia’ is a combination of the just 400 years ago; and computer engineering, starting in the 19th words “bio”, which refers to “life” or “being alive” and “philia”, century. The human body, brain, and senses developed in an referring to the “positive emotion and attraction people have environment not constructed and created by bio-centric or human towards natural environments and certain living spaces”. This beings. idea is the opposite of phobia, which means a deep fear of entities that exist within the natural world (Kayihan, 2018: 2). Biophilia is humanity’s instinctive biological connection with nature. This idea explains why views to nature can improve our creativity; why the ebbing of tides and crackling res fascinate us; why walking through parks and animal companionship possess soothing, recuperative powers; and why heights intrigue and instill fear or excitement in us. This theory can be seen as the underlying reason for some buildings and urban environments being favored over others (Browning et al., 2014: 4). According to Kellert and Calabrese (2015: 3) the concept of biophilia requires an understanding of the evolution of human beings, where for over 99% of our species’ existence, have developed biologically in adaptive response to the natural environment and not a man-made articial one. Fig. 174. Camping by the riverside at Semonkong 83 06 - THEORETICAL GROUNDING 6.2.1. Dening biophilia and biophilic design There is no substitute to nature, therefore it should be an integral part of design. Close proximity to nature in built environment has a positive impact on the user. The correlation and potential of nature and the built environment has not been tapped to the best of its limits (Gautam, 2017: 120). Nature is a fantastic learning tool for humans, especially for nature as a source of architectural design inspiration. Biomorphic is one of the architectural response theories that branches out of biophilia and is primarily concerned with the world nature. This philosophy comes from the notion of nature's signicance and is environmentally oriented (Ishomuddin, 2016). Biophilic design can enhance our well-being and promote healing; reduce stress, boost cognitive function and creativity; increase the value of these attributes as the world population begins to urbanize (Browning et al., 2014: 4). “In every walk with nature one receives far more than one seeks.” Muir, 1877 Fig. 175. Man and nature 84 06 - THEORETICAL GROUNDING 6.2. BIOPHILIA 6.2.2. The history of biophilia in an architectural context Nature patterns can be seen in the earliest human structures: stylized creatures typical of the Neolithic Göbekli Tepe; Egyptian sphinx and acanthus leaves beautiful Greek temples and their tale of Vitruvian origin; from the simple hut to the elegant, leafy Rococo ligrees. Animal and plant representations have been used for artistic or symbolic ornamentation for a long time. Cultures around the world have long taken nature into dwellings and public spaces beyond representation (Browning et al., 2014: 6). Classic examples include Spain's landscaped courtyards, plant and animal designs on mud huts in Lesotho, porcelain water bowls in ancient China, aviaries in Teotihuacan (former Mexico City), bonsai ponds in Japanese houses, papyrus ponds in Egyptian nobles ' homes, cottage garden in medieval Germany, and Babylon's enigmatic hanging gardens. The consistency of natural themes in historical structures and places suggests that biophilic design is not a new concept; rather, it is the organization of history, human intuition and neural sciences as a eld of applied science that shows that connections with nature are vital to the maintenance of a healthy and vibrant existence. Before and even after Fig. 176. the Industrial Revolution, the vast majority of people lived an agrarian life, The history and man’s living a great part of their lives in nature (Browning et al., 2014: 6). development 85 06 - THEORETICAL GROUNDING Fig. 177. Oxford University Museum of 6.2.2. The history of biophilia in an architectural context Natural History Frederick Law Olmsted (1865) an American landscape architect c oncluded that “... the enjoyment of scenery stimulates the brain without exhaustion and yet exercises it, soothes it and yet enlivens it; and thus, through the power of the mind on the body, allows the whole process the benet of soothing relaxation and revitalization." Victorian-era designers and artists including prominent English painter and art critic John Ruskin pushed back toward what they saw as modern cities ' dehumanizing existence. They called for artifacts and structures representing the craftsman's eye and drawing inspiration from nature. Ruskin is said to have instructed the masons to use the surrounding countryside as inspiration in the construction of the Oxford Science Museum, and the effects can be seen in the incorporation of hand-carved owers and plants that adorn the museum (Fig. 177). Fig. 178. Art Nouveau Natural expression saw full effect in the late 19th century Art Nouveau projects. The exuberant crop of Architect Victor Horta laces through buildings in Brussels, the beautiful owers that are lamps of Louis Comfort Tiffany, and the clearly biomorphic shapes of the buildings of Leonardo Gaudí still remain important examples. In Chicago, with leaves and cornices portraying tree branches, Louis Sullivan developed intricate ornamentation. His protege, Frank Lloyd Wright, was part of The Prairie School's launching group. Fig. 179. Louis Sullivan's Guaranty Building 86 06 - THEORETICAL GROUNDING 6.2. BIOPHILIA 6.2.2. The history of biophilia in an architectural context With his stained glass windows and design, Wright abstracted prairie “ …Biophilia is not a single instinct but a complex of owers and plants. Like many in the Craftsman movement, as a learning rules that can be teased apart and analyzed decorative element, Wright used wood grain and brick and stone individually. The feelings molded by the learning rules fall texture. Wright even allowed interiors to ow through houses in areas along several emotional spectra: from attraction to that had not been achieved before, providing positive viewpoint views aversion, from awe to indifference, from peacefulness to of personal shelters. His early projects sometimes included interesting fear-driven anxiety.” Wilson,1993 spaces such as the balcony over the Fallingwater cliff face (Browning et al., 2014: 7) Fig. 180. Fig. 181. Frank Lloyd Wright’s Fallingwaters Hut at Semonkong 87 06 - THEORETICAL GROUNDING 6.2.2. The history of biophilia in an architectural context European Modernists removed a great deal of ornamentation from Le Corbusier's Cité Radiant (unbuilt in 1924) may have contributed t heir structures, but like Wright, they utilized wood grain and stone to catastrophic urban developments, but by positioning towers in a veining as decorative elements, as well as questioning the park surrounded by grass and trees, he sought to bind urban connection between interior and exterior. The Barcelona Pavilion residents to nature. As the International Aesthetic took root, it (constructed in 1929) by Ludwig Mies van der Rohe moved the idea spread glass structures everywhere; sadly, the houses, and of volumes and glass into play. His Farnsworth House (constructed in particularly the interiors of commercial buildings, separated people 1951) later identied interior and exterior much more simply by from nature more and more (Browning et al., 2014: 7). removing the elements from the visual connection with nature (Fig. 182). Fig. 182. Fig. 183. Ludwig Mies van der Rohe’s Barcelona Pavilion Ludwig Mies van der Rohe’s Farnsworth House 88 06 - THEORETICAL GROUNDING 6 .2. BIOPHILIA 6.2.3. Benets and principles of biophilia Biophilic architecture aims to create a healthy ecosystem for people in t he modern built environment as a biological organism that encourages nutrition, wellness and well-being for citizens. Successful application of biophilic architecture demands that certain basic principles be faithfully adhered to. Such concepts are important prerequisites to successful biophilic development training. Biophilic design: Ÿ Requires constant and consistent engagement with nature. Ÿ Focuses on human modications to the natural world that have improved the nutrition, wellbeing and well-being of humans over evolutionary time. Ÿ Encourages an emotional connection to specic settings and places. Ÿ Promotes positive interactions between people and nature which promote an enhanced sense of human and natural cultures ' connection and obligation. Ÿ Encourages shared structural frameworks to be improved, intertwined, and incorporated. Fig. 184. Semonkong landscape 89 06 - THEORETICAL GROUNDING 6.2. BIOPHILIA 6.2.4. Design considerations 6.2.4. Design considerations Biophilic architecture is designing for people as a biological LOCALLY APPROPRIATE DESIGN organism, honouring mind-body systems as health and well-being Ÿ Climate, ecology and the vernacular measurements in the sense of what is locally acceptable and Ÿ Character and density: Rural, suburban and urban adaptive. Effective biophilic development draws from inuential environments viewpoints – health conditions, socio-cultural norms and Ÿ Scale and feasibility expectations, past experiences, rate and length of user experience, Ÿ Culture and demographics and user understanding and information processing – to create spaces that are stimulating, restorative, balanced, as well as PLANNING FOR IMPLEMENTATION integrative with the nature of the site and the environment to which Ÿ Identifying desired responses and outcomes it relates (Browning et al., 2014: 13). Biophilic development should Ÿ Design strategies and interventions cultivate a love for place above all else. Ÿ Diversity of design strategies Ÿ Quality vs. quantity of intervention Ÿ Duration of exposure and frequency of access DESIGN INTEGRATION Ÿ Interdisciplinary planning and design Ÿ Biophilia as an environmental quality Ÿ Multi-platform solutions Ÿ Controlling for effectiveness Ÿ Tracking and measuring efcacy “The problem of man and nature is not one of providing a decorative background for the human play, or even ameliorating the grim city: it is the necessity of sustaining nature as a source of life, milieu, teacher, sanctum, challenge and, most of all, of rediscovering nature’s corollary of the unknown in the self, the source of meaning.” Ian McHarg Fig. 185. Dining by the Maletsunyane river bank 90 06 - THEORETICAL GROUNDING 6 .2. BIOPHILIA 6.2.5. Characteristics [PATTERNS] and experiences of biophilic design Biophilic architecture can be divided into three categories: Nature in Presence of Water t he Space, Natural Analogues and Nature of the Space. It provides a It enhances a place's experience by seeing, listening and touching framework for identifying and allowing a rich variety of strategies to be water. incorporated into the built environment.(Browning et al., 2014: 9). Just as cultural variations, backgrounds, health baselines and features of The Experience (feeling of space) the built environment can have a different impact on the perception A space with a good condition of the Presence of Water is spectacular of space, so can the design pattern. A successful approach comes and captivating. Fluidity, sound, illumination, proximity and accessibility from recognizing local conditions and the interaction between one all contribute to the relaxation and comfort of a space space and another and responding appropriately to the unique needs of a space and its expected client group and services with a mix of development interventions (Browning et al., 2014: 22). 1. Nature in the Space and place Nature in the Space discusses in a space or location the natural, material or ephemeral existence of nature. It covers plant life, water, air, animals, breezes, smells, fragrances, and other natural elements. Common examples include potted plants, ower beds, bird feeders, buttery gardens, water features, fountains, aquariums, green walls and vegetated roofs in the courtyard gardens. The best nature in space encounters are accomplished by providing meaningful direct links with these natural elements, particularly through variety, motion and multi-sensory interactions (Browning et al., 2014: 9). Fig. 186. Maletsunyane Waterfall 91 06 - THEORETICAL GROUNDING The Pattern The prevalence of water pattern has emerged from studies on The aim of the Presence of Water pattern is to draw on water's perceptual perception and positive emotional reactions to multi-sensory qualities to improve a place's environment in a conditions including water elements; decreased anxiety, way that is calming, promotes reection, improves mood, and enhanced feelings of tranquillity and lower heart rate and blood reduces mental exhaustion. pressure due to exposure to water characteristics; better attention and memory regeneration arising from nuanced, naturally uctuating visual stimuli; increased psychological and physiological sensitivity and sensation by concurrently activating several senses. Fig. 187. Abstract interpretation of the site at Maletsunyane [FEELING] 92 06 - THEORETICAL GROUNDING 6 .2. BIOPHILIA 6.2.5. Characteristics [PATTERNS] and experiences of biophilic design Visual Connection with Nature Dynamic & Diffuse Light A visual connection to nature is a view of natural elements, living Dynamic & Diffuse Light optimizes changing light and shadow systems and natural processes intensities which change over time to create natural environments. The Experience (feeling of space) The Experience (feeling of space) A space with a good visual connection to nature feels whole, it Conveys gestures of time and space that elicit intense and fascinating captures ones' attention and can inspire or be relaxing. It can evoke a emotions, buffered with a sense of calm. sense of time, climate and other living things (Browning et al., 2014: 9). Connection with Natural Systems Non-Visual Connection with Nature Awareness of natural processes, including seasonal and temporal The sensory, haptic, olfactory and gustatory sensations which give rise changes which characterize a healthy ecosystem. to a purposeful and constructive connection to life, living systems and natural processes. The Experience (feeling of space) Evokes a connection to a broader whole, mindful of seasonality and life The Experience cycles. Often the feeling is calming, enjoyable, profound and A space with a good non-visual connection to nature feels fresh and enlightening, and often expected. well balanced; atmospheric environments are viewed as uid and dynamic but at the same time familiar and comfortable, whereby noises, aromas and textures are reminiscent of being outside in nature (Browning et al., 2014: 11). 93 06 - THEORETICAL GROUNDING Non-Rhythmic Sensory Stimuli Thermal & Airow Variability It applies to stochastic or ephemeral interactions with nature that Characterized as subtle changes in air temperature, relative can be objectively evaluated but can not be forecast accurately. humidity, skin-wide ventilation, and surface temperatures imitating natural environments. The Experience (feeling of space) A space with good Non-Rhythmic Sensory Stimuli feels like one is The Experience momentarily being deprived of something special, something new, A space with strong variation in thermal & airow feels pleasant, exciting, calming, and energizing. It is a short but welcome healthy, vibrant, invigorating and relaxed. The space offers both a distraction. feeling of versatility and control. Fig. 188. Fig. 189. Spacial quality of site [FEELING] Semonkong gorge 94 06 - THEORETICAL GROUNDING 6 .2. BIOPHILIA 6.2.5. Characteristics [PATTERNS] and experiences of biophilic design 2. Natural Analogues Patterns Complexity & Order N atural Analogues investigates the evocations of organic, non-living Complexity & Order is rich sensory data that follows a similar spatial and indirect nature. Objects, fabrics, colours, designs, sequences and structure to those found in nature. patterns found in nature occur in the built environment as artwork, sculpture, furniture, lighting, and textiles. Mimicry of shells and plants, The Experience (feeling of space) organic furniture and natural materials that have been manufactured As an interesting combination between dull and daunting, a space with and heavily altered (e.g. timber boards, granite tabletops) provide an strong Complexity & Order feels exciting and information-rich. implicit connection to nature: while they are actual, they are only comparable to the objects in their ' normal ' condition. Through providing information resources in a structured and sometimes changing way, the best Natural Analog interactions are obtained. Natural Analogs contains three biophilic design patterns (Browning et al., 2014: 10). Material Connection with Nature Biomorphic Forms & Patterns Refers to elements of nature that represent local ecology or geology in These are abstract parallels to patterns which occur in nature that are order to create a distinct sense of place by minimal processing. contoured, patterned, textured and numerical. The Experience (feeling of space) The Experience (feeling of space) Feels rich, warm and natural, pleasing to the touch at times. Feels comfortable and interesting, possibly attractive, contemplative or even absorptive. 95 06 - THEORETICAL GROUNDING 6 .2. BIOPHILIA 6.2.5. Characteristics [PATTERNS] and experiences of biophilic design 3. Nature of the place and space Prospect N ature of the Space addresses nature's physical arrangements. This Prospect is a distance-free vision of tracking and planning. involves our inherent and acquired ability to see our fascination with the potentially unsafe and mysterious outside our immediate The Experience (feeling of space) surroundings; elusive views and startling moments; and sometimes Feels open and free, but gives a sense of safety and regulation, even phobia which causes assets when they include a trustworthy particularly when alone or in unfamiliar environments. component of protection. The best quality of spatial interactions is accomplished by developing intentional and stimulating spatial arrangements combined with natural trends in space and natural analogues (Browning et al., 2014: 10). Refuge Mystery Refuge is a space of refuge, from environmental conditions or the The possibility of acquiring further knowledge by partly opaque main activity stream, where the person is shielded from the back or views or other sensory tools that encourage the person to venture overhead. further into the area. The Experience (feeling of space) The Experience (feeling of space) A space with a good Refuge environment feels safe, offering a Mystery condition has a vivid sense of anticipation and sense of solitude and relaxation – either alone or in small groups – for provocation, giving the senses a sort of denial or incentive which work, security, rest and recovery. A successful refuge space feels prompts one to explore the environment more. distinct and special from its surrounding environment; it can sound contemplative, welcoming and defensive in its physical features while overly disengaging. 96 06 - THEORETICAL GROUNDING 6.3. CONCLUSION This chapter presents the theoretical discourse which informs the design and conceptual ideas. It presents a relevant theme to implement for the type of context the Landscape Appreciation Centre is set in. “Nature is a part of our humanity, and without some awareness and experience of that divine mystery man ceases to be man. When the Pleiades and the wind in the grass are no longer a part of the human spirit, a part of very esh and bone, man becomes, as it were, a cosmic outlaw, having neither the completeness and integrity of the animal nor the birthright of a true humanity.” Henry Beston 97 06 - THEORETICAL GROUNDING Fig. 190. Maletsunyane river 98 06 - THEORETICAL GROUNDING 7.1. Introduction 7.2. The Client 7.3. The Brief 7.4. Accommodation facilities 7.5. Accommodation list Fig. 191. Balcony at Semonkong Lodge overlooking Maletsunyane River and gorge 99 07 - CONCLUTION 7.1. INTRODUCTION The following details the client used for the Landscape Appreciation Centre at Maletsunyane Waterfall, Semonkong. It also explains the brief generated. This chapter also presents the accommodation facilities and list produce. 100 07 - CONCLUTION 7.2. THE CLIENT LESOTHO TOURISM DEVELOPMENT CORPORATION Promoting Responsible and Sustainable Economic Development through Tourism Lesotho's brand of tourism aims at providing Lesotho with a clear and optimistic tone. The goal of the LTDC is to enable potential tourists to actively learn about their destination and schedule their trip. MISSION KEY FUNCTIONS OF THE LTDC The LTDC provides leadership in the creation of a strong and Promoting and developing viable and competitive tourism ventures competitive tourism sector that contributes to sustainable economic that show high labor absorption ability. growth, employment, poverty alleviation and the conservation of natural and cultural environments through an efcient partnership in Marketing and promoting Lesotho as a preferred destination for tourists strategic marketing, research, product development, quality of (increased international tourist trafc market share) in such a way as to service delivery and development of human resources with private lead to additional foreign exchange production, strengthened and public sectors (Visitlesotho.travel, n.d.). payment balance and job creation. Promoting and improving the ow of domestic tourism through the internal promotion of Lesotho's specic sales points with particular emphasis on heritage appreciation, traditional and cultural endowments, and sustainable environmental use (Visitlesotho.travel, n.d.). 101 07 - CONCLUTION 7.3. THE BRIEF Although Lesotho is known for its natural beauty, with some of the highest points on earth, the world still knows little about the spectacular scenery and an endless range of Lesotho's adventurous experiences. It is therefore this project’s aim to create a place which will facilitate and attract travelers to be around one of Lesotho’s most iconic scenery at the Maletsunyane waterfall. This facility should offer breath-taking views to the place and a unique experience visitors will only get at Semonkong (Visitlesotho.travel, n.d.). Fig. 192. Traditional Basotho blankets 102 07 - CONCLUTION 7.4. ACCOMMODATION LIST AND FACILITIES NORTH WING SOUTH WING LOWER LEVEL GROUND FLOOR Sleeping pods 93m2 Reception 23m2 Mechanical room 93m2 Waiting area 47m2 Foyer 27m2 GROUND FLOOR Storage Reception 27m2 2 Winter lounge 200m2 Manager’s Ofce 18m Toilets 50m2 Ofce 1 14m 2 2 Observation platform 1 180m Ofce 2 16m 2 2 Control room 17m2 Boardroom 44m Kitchenette 11m2 FIRST FLOOR Toilets 84m 2 Winter lounge 190m2 2 Balcony 35m2 Water Tank storage 37m Observation platform 2 100m2 2 2 Mechanical room 18m Bicycle and equipment hire 104m ROOF TERRACE OUTSIDE SPACES Roof garden 140m2 Staff nook Roof observation point 190m 2 Outside covered seating Storage 63m2 103 07 - CONCLUTION 7.4. ACCOMMODATION LIST AND FACILITIES WEST WING EAST WING GROUND FLOOR GROUND FLOOR Restaurant dining 390m2 Foyer 19m2 Bar 38m2 Information 18m2 Kitchen 58m2 Toilets 40m2 Service yard FIRST FLOOR 2 Accommodation 153m Curio shop 194m2 Art gallery 173m2 SECOND FLOOR Arts and Crafts workshop 121m2 Accommodation 153m2 2 Toilets 108m Storage 59m2 OUTSIDE SPACES 2Covered seating 46m OUTSIDE SPACES Water tanks 25m2 Outside deck 500m2 Garden courtyard 116m2 ACTIVITIES OFFERED Hiking trails Abseiling Mountain biking Fly shing Basotho horse racing Pony treks Maletsunyane Vertical drop ride (on cliff face) 104 07 - CONCLUTION Fig. 193. Maletsunyane Waterfall 105 PART 1 (end) Fig. 194. Maletsunyane Landscape Appreciation Centre Parti Sketch 106 PART 2 (Start) 8.1. Introduction 8.2. Touchstone 8.3. Conceptual ideas - Fluidity - Fragments of Time - Fingerprint [Identity] 8.4. Conceptual Framework 8.5. Model and sketch development Fig. 195. Floor plan development sketch 107 08 - DESIGN DEVELOPMENT 8.1. INTRODUCTION The next chapter is about the conceptual exploration and design development of the Landscape Appreciation Centre. It covers the touchstone for the project, the three initial conceptual approaches explored and indicates the one which was adopted for the purpose of this design. It then sets a more details and broader framework for the chosen concept. Sketches and models are presented to showcase the process the design went through. THEORETICAL LANDSCAPE CONCEPTUAL DISCOURSE APPRECIATION DESIGN CENTRE TECHNICAL RESOLUTION 108 08 - DESIGN DEVELOPMENT 8.2. TOUCHSTONE This touchstone captures the essence of the design concept by the rocks submerged within water. The water is used as the feeling on site, with the rocks arranged by man as an indication of the intervention created at Maletsunyane. This arrangement is guided by the principles of creating land art. The separation of the rocks with glass indicates the natural context with the new intervention in the middle. The arranged pattern has signicance due to the materials being the same as the undisturbed natural environment and enhancing what already exists, without imposing on the site. Fig. 197. Touchstone Presence of water Fig. 196. Touchstone - Land art Fig. 198. Touchstone 109 08 - DESIGN DEVELOPMENT 8.3. CONCEPTUAL IDEAS CONCEPTUAL APPROACH 1 Fluidity This conceptual exploration focused on the presence of water as a design generator. This idea was abandoned due to being one dimensional and direct as a concept. CONCEPTUAL APPROACH 2 Fragment of time This idea explored the temporal quality of the intervention dissolving and disappearing after a certain period of time. It relied on the history of what was to inform what could be, with regards to architectural form. This presented numerous problems which then led to the third conceptual idea. 110 08 - DESIGN DEVELOPMENT 8.3. CONCEPTUAL IDEAS Identity The adopted concept is identity through the study of patterns. This presented a broad idea which could include an investigation of the site, the culture and traditions of Basotho to create a more inclusive concept. This idea takes clues from the site, such as the farming patterns created by the residents of Semonkong. This implies that the immediate context is considered and becomes part of the principle conceptual approach. Identity through pattern in this regard also takes into consideration the patterns which form part of Basotho identity and tradition. These include patterns in their architecture, nostalgic shield emblem, crafts and colorful blankets. This exploration assists in designing a meaningful piece of architecture which blends in with its context and relates to the locals. 111 08 - DESIGN DEVELOPMENT 8.4. CONCEPTUAL FRAMEWORK This conceptual approach also takes into consideration Lesotho’s inuence on Marvel’s 2018 movie Black Panther. Traditional Basotho blankets are used in the lm as the border tribe costume. These are used for their deep historical and cultural signicance. The blankets in the movie are capable of emitting a force eld which the border tribe use when defending the city of Wakanda. This idea of protection and force eld from the blankets is adopted in this dissertation to inform the screens protecting the building and simultaneously creates a cultural reference to the site. 112 08 - DESIGN DEVELOPMENT 8.5. MODEL AND SKETCH DEVELOPMENT BUBBLE DIAGRAM DEVELOPMENT BUBBLE DIAGRAM DEVELOPMENT MOVEMENT INVESTIGATION PLAN DEVELOPMENT [STAGE 1] 113 08 - DESIGN DEVELOPMENT CONCEPT MODEL 1 CONCEPT MODEL 2 114 08 - DESIGN DEVELOPMENT 8.5. MODEL AND SKETCH DEVELOPMENT PLAN DEVELOPMENT [STAGE 2] PLAN DEVELOPMENT [STAGE 3] 115 08 - DESIGN DEVELOPMENT SECTION DEVELOPMENT SECTION DEVELOPMENT 116 08 - DESIGN DEVELOPMENT 8.5. MODEL AND SKETCH DEVELOPMENT CONCEPT MODEL 3 CONCEPT MODEL 4 CONCEPT MODEL 5 117 08 - DESIGN DEVELOPMENT CONCEPT MODEL 6 SLEEPING POD DEVELOPMENT 118 08 - DESIGN DEVELOPMENT 8.5. MODEL AND SKETCH DEVELOPMENT PLAN DEVELOPMENT [STAGE 4] 119 08 - DESIGN DEVELOPMENT CAD EXPLORATION 1 This exploration only took into consideration the slope on site but had very little reference to the spirit of the site and culture of Basotho. The result was an alien form which took attention away from the landscape and becoming an attraction itself. This idea was abandoned due to its peculiar nature and lack of consideration to its context. 120 08 - DESIGN DEVELOPMENT 8.5. MODEL AND SKETCH DEVELOPMENT FURNITURE AND DETAIL DESIGN 121 08 - DESIGN DEVELOPMENT 122 08 - DESIGN DEVELOPMENT CAD EXPLORATION 2 123 08 - DESIGN DEVELOPMENT 124 08 - DESIGN DEVELOPMENT CAD EXPLORATION 2 125 08 - DESIGN DEVELOPMENT DESIGN TOOLS AND REFERENCES TOOLS APPRECIATION CENTRE FIRST YEAR APPLICATION HUT BUILDING: · Focus on human scale through · Human scale sleeping pods (hanging and in the big · Earth construction wall) · Genius loci · Using natural building materials found on site such as rocks, soil, sticks and DESIGN PRINCIPLES: PATTERN, Hierarchy, wood Datum, Transformation, Rhythm, Order · PATTERN, Hierarchy, Datum, Transformation, Rhythm, Order are all considered and used within the design process · The theoretical notion of spirit of place, plays a signicant role within the designing of the centre SECOND YEAR CULTURAL PAVILLION: · Cantilever steel structure on a cliff · Steel construction TEA HOUSE: · Steel construction & inspiration THIRD YEAR THABA-NCHU PROJECT: · How people experience walking · Designing public spaces towards and through the building. DETAILING. ARTICULATION Planning. FOURTH YEAR THEORY & ARCHITECTURE · Biophilia DIALECTIC BEINGS (STUDENT RES PROJECT): · Biomorphic architecture · Biomimicry SPEAKING HILL (CAMPUS GALLERY): · Embodiment · Rhizome · Embodiment MINI THESIS (AQUAPONICS CENTRE): · Ecofeminism 126 08 - DESIGN DEVELOPMENT 9.1. Introduction 9.2. Functional composition 9.2. Response to climate and context [IDENTITY] 9.3. Theoretical application 9.4. Final design 127 00000009999999 ------- DDDDDDDEEEEEEESSSSSSSIIIIIIIGGGGGGGNNNNNNN SSSSSSSYYYYYYYNNNNNNNTTTTTTTHHHHHHHEEEEEEESSSSSSSIIIIIIISSSSSSS 128 00000009999999 ------- DDDDDDDEEEEEEESSSSSSSIIIIIIIGGGGGGGNNNNNNN SSSSSSSYYYYYYYNNNNNNNTTTTTTTHHHHHHHEEEEEEESSSSSSSIIIIIIISSSSSSS MALETSUNYANE WATERFALL 9.2. FUNCTIONAL COMPOSITION PULA (WEST WING) PULA (NORTH WING) NALA (EAST WING) KHOTSO (SOUTH WING) ADMIN REST AREA MAIN WALKWAY TO BUILDING PARKING DROP-OFF ZONE 129 PULA (NORTH WING) LOWER LEVEL PULA (NORTH WING) GROUND FLOOR PULA (WEST WING) GROUND FLOOR 130 9.2. FUNCTIONAL COMPOSITION PULA (NORTH WING) FIRST FLOOR NALA (EAST WING) GROUND FLOOR KHOTSO (SOUTH WING) GROUND FLOOR 131 PULA (NORTH WING) PULA (NORTH WING) ROOF TERRACE NALA (EAST WING) FIRST FLOOR NALA (EAST WING) SECOND FLOOR 132 9.2. FUNCTIONAL COMPOSITION EAST ELEVATION SCALE 1:500 133 SECTION A-A SCALE 1:200 134 9.2. FUNCTIONAL COMPOSITION NORTH ELEVATION SCALE 1:200 135 SECTION B-B 136 9.3. RESPONSE TO CLIMATE AND CONTEXT 137 138 Parking Main approach to building 139 Main approach to building 140 South Wing Entrance 141 142 Promenade to North wing 143 144 Restaurant interior Restaurant interior Outside Deck Outside Deck West Wing 145 146 9.5. FINAL DESIGN 147 148 149 150 9.5. FINAL DESIGN [in progress...] 151 09 - DESIGN SYNTHESIS 152 153 154 09 - DESIGN SYNTHESIS 155 0099 -- DDEESSIIGGNN SSYYNNTTHHEESSIISS 156 157 0099 -- DDEESSIIGGNN SSYYNNTTHHEESSIISS 158 000999 --- DDDEEESSSIIIGGGNNN SSSYYYNNNTTTHHHEEESSSIIISSS 159 160 161 162 10.1. Introduction 10.2. Technical data and resolution - Site information and Micro-climate - Landscape Detailing and Site Planning - Space and Utility improvement - Form, Functions and Sustainability - Materiality - Circulation - Structural systems 163 10 - TECHNICAL REPORT 10.1. INTRODUCTION Following the extensive design synthesis of the Landscape Appreciation Centre, this next chapter details the technical information and resolution of the project. The aim of this chapter is to is to substantiate the conceptual and theoretical design decisions in order to form a comprehensive project. This report covers the climate conditions of Semonkong and geology of the site, landscape detailing, economic and sustainability imperatives, circulation, universal access, structural systems and then concludes with an investigation of applicable building services. THEORETICAL LANDSCAPE CONCEPTUAL DISCOURSE APPRECIATION DESIGN CENTRE TECHNICAL RESOLUTION 164 10 - TECHNICAL REPORT 1. SITE INFORMATION AND MICRO-CLIMATE Ÿ Fig. .... indicates the number of sunny, partly cloudy, overcast and precipitation days monthly. Micro-Climate Ÿ Days with more than 80% cloud cover are regarded as overcast, 80- 20% cloud cover as partly cloudy and with less than 20% as sunny. The general climate in Maseru and Semonkong is warm, temperate and mild (climate-data.org, 2019). Ÿ The solid red line in gure .... indicates the mean daily maximum temperature for every month for Semonkong, while the mean daily minimum is indicated by the solid blue line. Ÿ The dashed red and blue lines indicate hot and cold nights of each month of the past 30 years respectively (meteoblue, 2019: online) Fig. ... Sunny, partly cloudy and precipitation days (meteoblue, 2019) The diagram below shows how many days in a month reach certain temperatures. Fig. ..... Average precipitation and temperatures (meteoblue, 2019) Fig. ... Maximum temperature diagram for Semonkong (meteoblue, 2019) 165 10 - TECHNICAL REPORT Fig .... is a precipitation diagram for Semonkong which indicates The wind rose diagram below indicates the directions wind blows how many days per month, certain precipitation amounts are in Semonkong and for how many hour per year (meteoblue, 2019: reached. online). This information is important to the technical resolution of the project in that it suggests the use of a screen to protect the building. Fig. ... Precipitation amounts (meteoblue, 2019) The following is a wind speed diagram for Semonkong and indicates days per month in which certain speeds are reached. Fig. ... Wind rose (meteoblue, 2019) Fig. ... Wind speed (meteoblue, 2019) 166 10 - TECHNICAL REPORT 1. SITE INFORMATION AND MICRO-CLIMATE The geographic coordinates of Lesotho are in Southern Africa at 29°00'S latitude and 28°00'E longitude. The predominant type of rock available on site is Triassic-Jurassic basalt. Fig. ... Fig. ... Maximum temperature diagram for Semonkong (mappery.com, 2019) Ecological zones of Lesotho with altitudes in metres above sea level (mappery.com, 2019) 167 10 - TECHNICAL REPORT 2. LANDSCAPE DETAILING AND SITE PLANNING Site Access Landscape Detailing The only vehicular access onto the site is from the south-east Subtle treatment of the landscape is of vital importance for this direction, which also happens to be the highest point of the site. project. The building is connected with the landscape by a series of Pedestrian access is available from the west, south and south-east gabion walls that protrude by 300mm height and act as retaining directions. walls on the sloping site. These help prevent further soil erosion on the site and visually enhance the experience of the area by mimicking There is no boundary wall or fence around the site to allow the local the existing farming patterns as seen in the gures ... and ... below. community free passage and to continue using the land for grazing of livestock. This is to maintain the current living quality for the locals Planters are also added around the building to better integrate the and to offer a unique experience for visitors. architecture and contextual setting. Fig. ... Fig. ... Site map indicating farming patterns that inspired the retaining gabion walls Retaining gabion walls detailing the landscape (Chief surveyor general, 2018) 168 10 - TECHNICAL REPORT 3. SPACE AND UTILITY IMPROVEMENT 4. FORM, FUNCTIONS AND SUSTAINABILITY Moral and Economic Aspects Form One of the most important aims of the project is to create jobs and The general morphology of the building is simple and emphasizes each income for the local community. The building will serve the residents function. The service functions are merged with the context and hidden of Semonkong in the following ways: with green roofs that read as one with the landscape, while the served Ÿ Offer those who own horses a chance to capitalise on the spaces protrude out of the earth vertically. increase of tourism by providing guides and rides around the site on horseback This is to draw visitor's attention to the more prominent parts of the building Ÿ All working stuff hired from the community which are mainly resting facilities. Fenestration is used in vertical strips to Ÿ The centre provides arts and craft workshops to empower the give reference to the vertical drop of the Maletsunyane waterfalls. This local community and exhibit the work for sale to tourists in the provides adequate light into the spaces with a rhythm that responds to its gallery environment. The bulk of the site is still used for farming to sustain the centre and feed the community. Vegetables used in the restaurant are also provided from farming on site. Served spaces Service spaces Service spaces Fig. ... Served and service spaces 169 10 - TECHNICAL REPORT Functions NORTH WING Ÿ The Southern wing is the administration block with ofces, a boardroom, ablution facilities and an equipment hire shop for visitors that wish to explore the area with bicycles. Ÿ The Western wing houses the exhibition gallery, art and craft workshop, curio shop and restaurant. WEST WING Ÿ The Northern wing has a winter lounge on the ground and rst oors, with a roof garden and terrace accessible for all visitors. This wing also has the sleeping pods on the Lower level oor hanging from the edge of the cliff. Ÿ The Eastern wing has more accommodation facilities, SOUTH WING maintenance rooms and storage. Fig. ... Floor plan diagram showing the relationship between the different parts of the centre Fig. ... Fig. ... Section A-A Section B-B 170 EAST WING 10 - TECHNICAL REPORT LEVEL 0.5 119 000 Shading device LEVEL 0.4 116 000 LEVEL 0.3 Roof terrace Fig. ... Section C-C 113 000 Winter lounge LEVEL 0.2 110 000 Winter lounge LEVEL 0.1 106 000 Screen Sleeping pods LEVEL 0.0 100 000 Cliff LEVEL 0.5 119 000 Roof terrace Accommodation LEVEL 0.4 116 000 Winter lounge LEVEL 0.3 113 000 Gallery Curio shop Restaurant LEVEL 0.2 110 000 Lobby and toilets LEVEL 0.1 106 000 Fig. ... Section E-E Sleeping Pods LEVEL 0.0 100 000 171 10 - TECHNICAL REPORT LEVEL 0.5 Fig. ... 119 000 Section D-D LEVEL 0.4 116 000 LEVEL 0.3 113 000 LEVEL 0.2 110 000 LEVEL 0.1 106 000 LEVEL 0.0 100 000 Cliff Screen LEVEL 0.5 119 000 Accommodation LEVEL 0.4 116 000 Maintenance LEVEL 0.3 Winter Equipment 113 000 Admin lounge hire LEVEL 0.2 110 000 Toilets Winter Restaurant Curio Gallery lounge shop LEVEL 0.1 106 000 Maletsunyane Sleeping vertical drop pods roller coaster Cliff face on cliff LEVEL 0.0 100 000 Cliff face Sleeping pods hanging from building, supported by cliff Fig. ... Section F-F 172 10 - TECHNICAL REPORT Sustainability Thin photovoltaic cells 1. Analysis for design Solar radiation The three screens on the northern façade are tted with thin lm solar cells due to the high solar exposure. These photovoltaic cells contribute to the energy requirements of the building (Watts, n.d, pp 350). Copper indium gallium diselenide (CIGS) thin-lm photovoltaic cells are used because of their efciency. This is to help reduce the environmental impact while ensuring acceptable comfort conditions for the occupants of the centre. This is a reaction of the sunpath studies that were made on site. Thin photovoltaic cells 173 10 - TECHNICAL REPORT Thermal performance 2. Low Energy material systems The use of exterior shade could signicantly reduce the amount of Embodied energy energy needed in summer months to cool buildings in either The energy embodied in a building material, together with its temperate or warm climates. External shade avoids the ultimate demolition and associated recycling, can be considered movement of solar energy through a façade by collecting and as the sum of the energy used in the manufacture of its components, conveying solar energy outside the building envelope (Watts, n.d. transport, assembly on site. Based on a 50-year period, embodied pp 357). energy currently accounts for only about 10 percent of a building's lifetime energy expenditure. The operating energy component Solar shading levels are set to decrease signicantly, however. This will be The perforated screens on the outside of the building reduce the achieved by enhancing thermal insulation and a mixture of passive amount of direct sunlight on the façade. The efciency of the and active controls that regulate heat loss from ventilation and gain shading screens depends on their opacity and has a signicant from solar heat. This would make the energy element embodied in a impact on the amount of daylight entering the building (Watts, building even more important (Watts, n.d. pp 382). n.d. pp 366). Green walls Thermal mass Green walls are living, self-regenerating cladding systems that make The term thermal mass is used to describe the building material's it possible to completely cover façades with vegetation. (Watts, n.d. ability to retain excess heat. High thermal mass materials can absorb pp 386). heat, store it and release it at a later time. Since these materials take Advantages a long time to heat up and cool down, they can be efcient in Ÿ Visual comfort controlling temperature uctuations in a building and help to Ÿ Can help regulate internal temperatures maintain a stable internal temperature throughout the year (Watts, Ÿ Can benet the surrounding environment by altering local n.d. pp 380). microclimate Large amounts of heat are stored in heavy materials such as Ÿ Helps with noise absorption concrete and brickwork and can be considered high thermal mass Ÿ Improved atmosphere through dust trapping effects and (Watts, n.d. pp 380). absorption of Co2 Used in combination with an effective passive solar development Ÿ Retention of rainwater strategy, thermal mass can help reduce energy consumption in Ÿ Cooling effect as a result of evaporation mechanical heating and cooling systems and reduce the building's Ÿ Living walls are an excellent way of introducing biodiversity running costs (Watts, n.d. pp 380). 174 10 - TECHNICAL REPORT 5. MATERIALITY Theoretical and conceptual imperatives on material selection and application Ÿ The exposed steel structure is reference to the vernacular architecture and context 175 10 - TECHNICAL REPORT Technical and practical inuences on material use and detailing Ÿ First year Hut project informed the detailing, exposed structure and locally available material use 176 10 - TECHNICAL REPORT 6. CIRCULATION Vertical circulation Stairs and elevators are used for vertical circulation. 177 10 - TECHNICAL REPORT Vycle Vycle is a patent pending system that makes it convenient and fun for people to ride. The process is regulated by having the user's body as the only weight that can be overcome. The user will determine how much energy they want to bring up or down using a shifting system similar to how bicycles operate. This system is used to get to and from the sleeping pods level below ground oor. 178 10 - TECHNICAL REPORT 7. STRUCTURAL SYSTEMS Main Structure Secondary structure 179 10 - TECHNICAL REPORT Foundations Floors Columns and Beams 180 10 - TECHNICAL REPORT 7. STRUCTURAL SYSTEMS 181 10 - TECHNICAL REPORT 182 10 - TECHNICAL REPORT 8. STRUCTURAL SYSTEMS External walls 183 10 - TECHNICAL REPORT Roofs 184 10 - TECHNICAL REPORT 185 10 - TECHNICAL REPORT 186 10 - TECHNICAL REPORT 187 188 189 190 191 192 193 194 195 196 Bedliva, H. and Isaacs, N. (2016). Hempcrete - an environmentally friendly material?. [ebook] Switzerland, pp.84-85. Available at: https://www.researchgate.net/publication/286736682_Hempcrete_-_An_Environmentally_Friendly_Material [Accessed 24 Jun. 2019] Browning, W., Ryan, C. and Clancy, J. (2014). 14 Patterns of Biophilic Design. [ebook] New York: Terrapin Bright Green llc. Available at: https://www.terrapinbrightgreen.com/wp-content/uploads/2014/09/14-Patterns-of-Biophilic-Design-Terrapin-2014p.pdf [Accessed 26 Jun. 2019]. Contourmapcreator.urgr8.ch. (2019). Contour Map Creator. 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