i 



 i 

Front Cover:  The designed Grounding 

pavilion, placed in the centre of the existing 

kraal (author).  

Figure 1:  A photo of alternative site analyse findings (author)  



 ii 

Declaration  

 
This document is submitted in partial fulfillment of the requirements for the M.Arch (Prof) degree in  

Architecture. All the work contained in this document is my own except where otherwise acknowl-

edged.  

Department of Architecture, Faculty of Natural and Agricultural Sciences, University of the Free 

State. 

Dapper de Wet l 2018285169 l 2018285169@ufs4life.ac.za 

Supervisors: 

Prof. J Smit , Me. P Smit, Mr. P Mabe 

Date of submission:  

13/10/2023 

Declaration of original authorship: 

The work contained in this dissertation has not been previously submitted to meet requirements for 

an award at this or any other institution of higher education. To the best of my knowledge, this dis-

sertation contains no material previously published or written by another person except where due 

reference is made. 

mailto:2018285169@ufs4life.ac.za


 iii 

Figure 2:  Photo of the View to the west of the proposed site (author)  

The Koranna tribe spelling of their name is used in this contribution, i.e. ‘Koranna’ as opposed to the more generally used form ‘Korana’, 

‘Coranna’ or !oranna. 

iii 



 iv iv 

 

For a considerable period, it was widely accepted that the Koranna tribe had faded into extinction. However, a 

momentous turn of events unfolded when two distinct groups, each identifying themselves as the Taaibosch Koranna, 

approached  researchers independently, unaware of each other's presence. These individuals collectively expressed a 

common appeal: the urgent need for an in-depth scholarly inquiry into the historical and genealogical aspects of the 

Taaibosch family, currently residing in the Free State region. 

This plea served as the catalyst for the commencement of extensive research aimed at unraveling the tribe's historical 

background. Swiftly, it became apparent that the available information regarding the Koranna tribe was exceptionally 

scarce, further complicated by biased historical accounts that had shaped their narrative. 

Having spent my upbringing in the Eastern Free State, I possessed limited knowledge about the indigenous communities that 

once thrived in the region before my own time. As  I started investigating and asking around, a farm on in Korannaberge 

told me of rock remains what through generations of farmers is believed to be that of Koranna Kraal.  These circular 

structures now over grown by trees formed a circular Tree formations that can be seen from satellite images. These Kraals 

become the starting point of my Thesis.  

The overarching goal of this project is twofold: firstly, to enhance the visibility of these historical traces through architectural 

art, and secondly, to pay homage to the significant cultural heritage of the various tribes that once inhabited the area, with 

a primary focus on the Koranna tribe. This initiative entails the establishment of a cultural centre, with its core objective being 

the commemoration and preservation of the rich cultural legacy of the Koranna tribe. Through this endeavor, we aim to 

honour their historical roots while embracing contemporary perspectives, all with the ultimate aim of ensuring the enduring 

visibility of their cultural heritage for the benefit of future generations 



 v 

Abstract  

 

I 
n the heart of the Korannaberg region in the Eastern Free State, South Africa, lies 

the last known 'home' of the Koranna, a long-lost tribe of Southern Africa. This spa-

tial setting becomes the canvas for an ambitious architectural intervention aimed 

at reviving their fading culture - the establishment of a culturally responsive and 

sustainable research centre. The overarching argument of this thesis is supported by 

theories of critical regionalism and spatial-temporal tactics to design a place of re-

membrance for the Koranna tribe, a haven where their rich heritage can be both 

studied and taught. Despite the scarcity of surviving remnants, the proposed inter-

vention aspires to evoke the essence of their ways of living, rituals, and stories. The re-

search question guiding this exertion is: How can the imprints of memory within the 

Korannaberg region be harnessed to inform the architectural design of a culturally 

immersive and research-driven institution, capable of reimagining the essence and 

preserving the endangered legacy of the Koranna tribe? The goal is to breathe life 

into their forgotten history, crafting an institution that becomes a powerful beacon of 

cultural preservation and understanding. 

Figure 3:  Drawing of Koranna village (Holub , 1881: 9)   



 vi Figure 3:  Drawing of Koranna village (Holub , 1881: 9)   



 vii 

03 

CHAPTER 

02 

CHAPTER 

2.1 Introduction 

2.2 The Koranna tribe 

   2.2.1  Koranna History 

   2.2.2 Migrations map 

   2.2.3 Relocation of the Koranna 

   2.2.4 Clothing  

   2.2.5 Artefacts 

   2.2.6 Language  

   2.2.7 Rituals 

2.3 Koranna construction  

   2.3.1 The City (Kraal)  

   2.3.2 Building the Hut  

2.4 The Koranna in the Free State 

2.5 Current state of the tribe  

2.6 Conclusion  

3.1 Introduction 

3.2 Macro site analysis  

   3.2.1 Climate 

   3.2.2 Soil 

   3.2.3 Vegetation 

   3.2.4 Community 

   3.2.5 Animal life 

   3.2.6 4X4 routes 

   3.2.7 Hiking trails 

3.3 Mezzo site analysis  

   3.3.1Accessibility  

   3.3.2 Surrounding structures  

3.4 Microsite analysis  

   3.4.1 Alternative site analysis 

   3.4.2 Site Characteristics 

   3.4.3 Site environment  

3.5 Conclusion  

1.1 Introduction  

1.2 Site  

1.3 Reason: Research question 

1.4 Client 

1.5 Touchstone 

01 

CHAPTER 

Figure 4:  Korannaberg view to South of Site 

04 

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04 



 9 

01 

1.1 Introduction  

1.2 Site 

1.3 Reason: Research question   

1.4 Client 

1.5 Touchstone 

Figure 5:  Remains of  what is believed to be Koranna kraals (Author)  

Figure 5:  The proses of design (Archdaily, 2020: online)  



 10 

1.1 Introduction 

T 
he Koranna tribe is a native African tribe that in-

habited multiple southern African regions (SA histo-

ry, n.d. : Online). Due to their distinctive cultural 

practices and close connection with nature, their 

distinctive way of life has captured the attention of many. 

The traditions surrounding the birth, marriage, and death 

of the Koranna people are rich and involve elaborate rit-

uals and ceremonies. Their religious system and spiritual 

beliefs are intricately intertwined with the natural environ-

ment, which demonstrates their respect for the land and 

its resources (SA history, n.d. : Online). Additionally, the Ko-

ranna tribe possesses exceptional hunting, gathering, and 

traditional craft skills that have been passed down 

through generations (SA history, n.d. : Online).  

All of this will be incorporated into the design of a centre 

for cultural discovery consisting of an anthropology cen-

tre, a digital and physical archive, and a walk of remem-

brance acting as exhibition space. The document will be 

organised by investigating various facets of the design 

process, thereby revealing the multiple levels of meaning 

embedded in the work. There are seven chapters total. 

Each chapter will act as a piece of a puzzle, the first  four 

chapters will create tools and ways to guide the design 

prosess. 

The document will be divided into the following chap-

ters . Chapter one establishes the project's context, the 

research question, and the client's objectives. It introduc-

es the touchstone, a guiding principle for the design pro-

cess. Chapter two, "The Narrative of the in between," fo-

cuses on revealing the site's narrative through placemak-

ing. It examines the role of nostalgic architecture, 

memory, typology, morphology, and regionalism in identi-

ty formation. The third chapter, titled "The Narrative of the 

Present (Site Analysis)", examines the macro, mezzo, and 

micro aspects of the chosen site. In addition to relevant 

precedents, the analysis takes into account historical 

context, climate, vegetation, and community, among 

other factors. This chapter explores the history of the Ko-

ranna people, including their migrations, clothing, lan-

guage, and rituals. Investigating their presence in the 

Free State region. The design process is emphasized in 

Chapter 5, "The Narrative of the Making (Design Synthe-

sis)". It describes the evolution of three design concepts 

that led to the chosen design concept. The sixth chapter, 

"The Narrative in the Details (Technical Report)", explores 

the technical aspects of the design. It includes specifics 

regarding materials, structural elements, and systems. The 

document's concluding chapter, "Reflection," reflects on 

the entire design process. It highlights significant findings, 

lessons learned, and the project's significance. The chap-

ter includes a bibliography, a list of illustrations, and con-

cluding images. 

The document will engage with the site's narrative 

throughout the book, drawing inspiration from critical tra-

ditions, investigating the present context, and revealing 

the past. By following this route, readers gain a thorough 

understanding of the site's influence on architectural de-

sign . 



 11 

1.2 Site 

The Korannaberge is a mountainous region that holds sig-

nificant historical value and can be found in the Eastern 

Free State of South Africa. It is bordered by the towns of 

Clocolan, Excelsior, and Marquard. It was once home to 

the Koranna Tribe, which has since vanished, making it 

an excellent candidate for the proposed location of a 

cultural centre. Rock art, the remains of structures, and 

artifacts left behind by the tribe can be discovered all 

over the region. The selection was influenced by the fact 

that the ruins of the village of Koranna are in good condi-

tion and are easily accessible. Through rock art depicting 

scenes of hunting and rituals, the Korannaberge provides 

insights into the daily life, cultural practices, and artistic 

expressions of the tribe. The community's architecture 

and the way they ran their affairs are illustrated by the 

remnants of their homes and kraals. The existence of the 

tribe can be proven through the discovery of artifacts 

such as pottery, tools, and personal adornments during 

archaeological excavations. Visitors will not have any 

trouble finding their way around thanks to the location's 

convenient proximity to Clocolan, Excelsior, and Mar-

quard. The state of the ruins of Koranna's village was one 

of the factors that went into choosing the location for the 

cultural centre, which will be able to incorporate the look 

of the ruins into its layout. The centre would function as a 

living testament to the history of the tribe by providing 

educational programs, cultural events, and exhibitions to 

the public. The Korannaberge have the ability to pre-

serve and celebrate the heritage of the Koranna Tribe 

thanks to the establishment of the cultural centre. This will 

ensure that their legacy lives on. 

Figure 7:  Map of South Africa (Snazzy 

maps, n.d.: online) Adapted by author  

Figure 8:  Map of  the Free State (Snazzy 

maps, n.d.: online) Adapted by author  

Figure 9:  Map of  the Korannaberg 

(Snazzy maps, n.d.: online) Adapted by 

author  



 12 

1.3 Research question 

How can the principles of critical regionalism be applied to design a cultural 

and research centre for a forgotten Koranna tribe in the Korannaberg, Free 

State, considering their temporal living conditions and cultural identity, while 

exploring the relationship between memory and place? 

Figure 10:  Remains of  what is believed to be Koranna kraals (Author)  



 13 

1.4 Client 

In the case of the proposed Koranna Centre for 

Cultural Discovery, it's important to explore the 

roles and objectives of the South African De-

partment of Cooperative Governance, the Free 

State Department of Cooperative Governance 

and Traditional Affairs, and the Mantsopa Local 

Municipality. 

The South African Department of Cooperative 

Governance is responsible for fostering respon-

sive governance nationwide. They aim to estab-

lish centres for cultural discovery that showcase 

the diverse cultural richness of South Africa's in-

digenous communities. These initiatives promote 

social cohesion, safeguard cultural heritage, 

and empower local communities(South African 

Government n.d. : online ). By supporting the 

Koranna Centre for Cultural Discovery, they pro-

vide a platform for celebrating the unique Ko-

ranna heritage, cultural exchange, and educa-

tional opportunities.  

The Free State Department of Cooperative Gov-

ernance and Traditional Affairs focuses on the 

Free State region, where the proposed centre 

would be located. Their objectives include facili-

tating sustainable development, promoting so-

cial inclusion, and preserving traditional practic-

es. Endorsing the establishment of a centre for 

cultural discovery would foster regional pride, 

identity, and tourism while providing economic 

opportunities (Free State online n.d. : online ). 

The Mantsopa Local Municipality aligns its goals 

with the provincial and national departments. 

They seek to enhance residents' quality of life 

through local economic development, cultural 

heritage preservation, and community engage-

ment(Mantsopa, n.d. : online ). The Koranna 

Centre for Cultural Discovery would serve as a 

venue for cultural events, exhibitions, and edu-

cational programs, contributing to these objec-

tives. 

In conclusion, the South African Department of 

Cooperative Governance, the Free State De-

partment of Cooperative Governance and Tra-

ditional Affairs, and the Mantsopa Local Munici-

pality can collaborate to promote effective 

governance, preserve cultural heritage, and fos-

ter community development. The Koranna Cen-

tre for Cultural Discovery will be a shared vision 

to create an inclusive space that celebrates the 

Koranna community's heritage, strengthens so-

cial cohesion.  

Figure 15:  View from top of the Korannaberg. (author) 

Figure 11: Mantsopa Logo (Mantsopa, n.d. : online )  Figure 12: FSCGTA Logo (Free State online n.d. : online ) 



 14 Figure 15:  View from top of the Korannaberg. (author)  

Figure 12: FSCGTA Logo (Free State online n.d. : online )  Figure 14: DCG of RZA  logo (South African Government n.d. : online )  



 15 

1.5 Touchstone 

Fleeing Machine 
Adapting the ways the Koranna moved, into contemporary architecture. 

The touchstone applies critical regionalism by drawing inspiration from the 

Koranna tribes cultural practices and natural surroundings. It aims to create a 

functional and fitting building while incorporating the principles of exploratory 

temporality to acknowledge the passing and presence of time. The Koranna 

tribes cultural practice of relocating to new territories in response to threats 

was a significant aspect of their identity. The touchstone acknowledges this 

practice and seeks to incorporate the tribes adaptability and connection 

with the natural environment into its design. 

The project aims to achieve sustainability by utilizing renewable energy and 

materials with minimal impact on the environment. It embraces exploratory 

temporality, considering the passage of time in its design, construction, and 

long-term use. This involves assessing the required tension to keep the 

buildings walls attached and considering the evolving needs of the 

occupants. 

The Kommando bird (see section 2.2.3) , which guided the Koranna tribe 

during relocations, serves as a symbolic guide for the project. It represents the 

project's ability to navigate obstacles during execution, using the wisdom of 

the tribe's cultural practices. Ultimately, the touchstone aims to create a 

building that harmonises with its surroundings, reflecting the principles of 

critical regionalism. It embraces exploratory temporality, adapting to 

changing conditions and ensuring long-term functionality. By integrating the 

cultural wisdom of the Koranna tribe and their connection with the natural 

environment, the project aspires to be both aesthetically pleasing and 

environmentally conscious. 

The mats hold in 

pl ace  w i t h 

tension, being 

able to be 

removed as 

soon as the bird 

whistles. 

Figure 16 & 17:  Photo of Touchstone ( author)  



 16 

Traces:  

Al though the 

Koranna packed 

up the majority of 

their lives, the 

foundations and 

rock art stayed 

behind as a form 

of remembrance. 

The wheels—representing both 

the fact that it is movable and 

the fact that colonization was 

one of the  reasons for the start 

of the move from the Cape 

inwards. 

Structures both vertical and 

horizontal as in the case of the 

Koranna huts. 



 18 

  

02 

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Figure 18: Photo of Koranna rock art in The Korannaberg  (Fourie, 2011:159)  

 
2.1 Introduction  

2.2 The Koranna tribe  

   2.2.1  Koranna History  

   2.2.2 Migrations map  

   2.2.3 Relocation of the Koranna 

   2.2.4 Clothing  

   2.2.5 Artefacts  

   2.2.6 Language  

   2.2.7 Rituals  

   2.2.8 Folktales  

2.3 Koranna construction  

   2.3.1 The City (Kraal)  

   2.3.2 Building the Hut  

2.4 The Koranna in the Free State  

2.5 Current state of the tribe  

2.6 Conclusion 



 19 

2.1 Introduction 

I 
n the preceding section, The Grounding Narrative, provided an overview of the dissertation. How-

ever, it is important to create a narrative of the past, which means gathering facts of the previous 

inhabitants  and understanding what led to their settlement in the Korannaberg. This chapter is cru-

cial because it will provide final clues into how the Korannaberg regions subtle imprints of memory 

that can be used to direct the architectural design of a culturally immersive and research-driven cen-

tre that can rethink the essence of protecting the Koranna tribes dwindling heritage. 

2.2 Koranna tribe  

The reason for the name Koranna is unknown much like most of their history. However, the name Koran-

na is believed to be taken from their leader’s name Kora who lived in the Cape. The next two pages 

will be used to create a timeline of the known history of the tribe.  

Figure 19: Drawing of a Koranna Village   (New York public library n.d.;Online)  



 20 

2.2.1 Koranna History  

16th—17th  

Centuries 

1661—1686  1750 

The Koranna peo-

ple are established 

in a region west of 

present-day Stel-

lenbosch. Kora is 

the chief of the 

Koranna during 

this period. 

The Koranna begin 

their migration 

northward, leaving 

the Cape area for 

good.  

The Koranna in the Free State  

T h e  K o r a n n a 

reach the South-

ern banks of the 

Orange River dur-

ing their northward 

migration.  

Conflicting trade 

interests lead to a 

breakdown in 

peaceful relations 

between the Ko-

ranna and the 

Tlhaping people. 

Which lead to 

The Koranna relo-

cate to the Mamu-

s a  r e g i o n 

( S c h w e i z e r 

Reinecke). 

1813-1820  1833 

Hanto Taaibosch, 

leader of the Taai-

bosch famil y, 

moves to Platberg, 

South of Lady-

brand.  

1834 

Led by Hanto Taai-

bosch, the Koranna 

community now makes 

its way to Umpukani, 

which is nestled be-

tween Clocolan and 

Marquard. Umpukani 

undergoes a remarka-

ble transformation, 

evolving into a Christian 

missionary hub with a 

fervent commitment to 

disseminating the Gos-

pel among the Koranna 

people. 

Information of this Graph was gather from (Engelbrecht, 1936:) (Holub , 1881: 17) & (Fourie , 2011)  

Figure 20: Koranna History (Author)  



 21 

1854 

The Republic of 

the Orange Free 

State is estab-

lished, with the 

B l o e m f o n t e i n 

convention de-

termining inter-

nal policies. This 

lead to the 

start of the 

end of the Ko-

ranna Way of 

life.  

1838 

H a n t o 

Taaibosch is 

killed by a 

lion, and Gert 

T a a i b o s c h 

a s s u m e s 

chieftainship 

o f  t h e 

T a a i b o s c h 

family.  

1839 

Gert Taaibosch 

assists "voortrekker" 

leaders Potgieter 

and Maritz against 

the Ndebele of 

Mzilikazi.  

Gert Taaibosch is 

k i l l e d  a t 

Dawidsberg.  

1853 1836 

The Koranna in the 

Thaba 'Nchu and 

Thaba Bosiu regions 

launch marauding 

expeditions against 

Moshweshwe and 

his followers.  

1846 

The Maitland 

treaty officially 

acknowledges 

G e r t 

T a a i b o s c h ' s 

land claims.  



 22 

Stellenbosch  

Mamusa region  

(Schweizer Reinecke)  

Platberg  

(Ladybrand)  

2.2.2 Koranna Migration Map 

Umpukani 

 (between Clocolan and Marquard)

Namaqualand region Priska  

Upington  

Korannaberg  

Buffels river 

Note:  The Map is not completely  accurate, and its representation is not drawn to scale. Its sole purpose is for illustrative u

Figure 21: Migration map of the Koranna (Author)  



 23 

(between Clocolan and Marquard) 

Note:  The Map is not completely  accurate, and its representation is not drawn to scale. Its sole purpose is for illustrative use .  

2.2.3 Relocation of the Koranna- The flee of the tribe  

For the Korana to relocate some type of warning had to be given to the tribe. In the Korana tribe a 

small bird known as the disturber of the peace came bearing a warning and sung a song that roughly 

translates to ‘quickly, trek, trek, trek, you’ when this occurred no matter the time of day or night, the 

tribe would start packing up camp immediately and start their journey to a new location. The packing 

of the oxen for this journey once again happened in a very specific manner. First the skins were 

placed. Second the mats, rolled and fastened. Thirdly the laths were tied into bundles attached to the 

mats. In between sat the oldest and youngest members of the tribe. The other men gathered the cat-

tle, and the woman collected the small stock. Moving on to find the next suitable location for setting 

up their kraal. No matter how long it took. 

Figure 22: San Group packing up  to move to new location. (Go Ghaap, n.d. online)   



 24 

2.2.4 Clothing  

         FRONT                 BACK  

         SUMMER                    WINTER 

Figure 23: Koranna History ((Engelbrecht, 1936:104)  



 25 

2.2.5 Artefacts   

Beyond the realm of rock 

art, the presence of Koranna 

tribe artefacts within muse-

um collections, both in South 

Africa and globally, is con-

spicuously limited. Nonethe-

less, anecdotal reports from 

some farmers residing in the 

Korannaberg Region allude 

to potential discoveries of 

everyday utensils and weap-

ons, possibly associated with 

the Koranna tribe. The es-

tablishment of an anthropol-

ogy centre holds the prom-

ise of addressing this histori-

cal void in South African his-

tory. 

Figure 24: Possible Koranna artifacts (Go-Ghaap, n.d.: online)   



 26 

2.2.6 Language    

Kora (known as ?Ora in the 

language itself) was the Khoi-

san language spoken by the 

Khoi people and the Koranna 

tribes. A few years ago, while 

conducting fieldwork, Mike 

Besten, a historian from the 

University of the Free State, 

discovered that a few elderly 

people still spoke the lan-

guage. A small team respon-

sible for the writing of Kora, a 

lost Khoisan language of the 

early Cape and the Gariep, 

established in 2011 that there 

may be no more than two 

people who can speak the 

language. The Kora be-

longed to the Khoe lan-

Figure 25: Kora: (Du Plessis,  2011: Front page )   



 27 

2.2.7 Rituals    

The Koranna Tribe, had  a profound 

connection to their ancestral heritage 

and the natural environment through an 

intricate web of rituals. The rituals 

performed by them are intricately linked 

to the natural cycles, signifying 

transitions between seasons, births, and 

stages of development into maturity

(Engelbrecht, 1936: 175).  

 

The death ritual see figure 26, create a 

movement. The deceased  would be 

place in the middle of his hut, with the 

men forming  a circle around him 

singing, the women would form a 

second circle. Both the men and 

women would start speaking  to their 

ancestors and  sing while doing this 

they’ll move in opposite directions the 

men clockwise while the women will 

move anti- clockwise (Engelbrecht, 

1936: 187-190).  This can translate into  

architecture in some sense. Figure 26: Death ritual  (Author )   



 28 

2.3 Koranna Construction  

In the Koranna tribe the chief member in-owned the authority 

regarding any form of relocation. He would make decisions re-

garding the move and the suitability of the location 

(Engelbrecht, 1936: 89). When it came time to select a suitable 

encampment site, the criteria were minimal: A large tree

(1936:89).  

The large tree– men’s socitity 

Here men would prepare meals with the very strict exclusion of 

woman. As well as the meeting spot for discussion on any tribe 

related matters with the chief (1936:90). 

Layout of the City 

 The stad, also known as a piece of land, that the Koranna 

called home was laid out in a very specific manner. It was of 

circular form, the circle could almost be seen as a barrier, be-

tween the higher referred tribe members and the lower class. 

The chief, his sons, brothers and the rest of his family resided 

within the circle, whilst the labourers, servants and ‘outsiders’ - 

not being of Koranna origin would live outside the circle

(1936:90). 

Within this circle a particular and precise layout was generat-

ed. Within the centre a common cattle kraal acted as centre 

point. Straight across to the west from the cattle the hut of the 

kraal-head stood in centre position. Immediately to the right of 

this hut, the eldest married son resided. Next the huts of the 

second eldest and other married sons followed. After them, al-

so placed in a rank like order the huts of the head’s brother 

and their sons came. The youngest son however did not fall in 

line with the rest of his siblings, but rather took his position next 

to his father on the left. This was executed in such a way that if 

it came to happen that the chief would pass away, it was the 

responsibility of the youngest to look after his mother, and 

therefore occupied a position close by(1936:90).  

The other small stock and calves also remained near the cen-

tre next to the cattle kraal. To the left of the cattle kraal a tem-

porary hut called the doro-hut was erected, this served a pur-

pose in the lives of young men, as they would reside in this hut 

until their male initiation ceremony took place. Aiding in their 

transitioning from a boy to a man within the tribe(1936:90). 

The Family hut  

Within this main circular layout family huts were also a custom 

for a man marrying and starting a family of his own. This partic-

ular hut was laid out in 3 sections and divided. Firstly, a bigger 

central hut was built: the parental hut. From this hut a Y pas-

sage led to two smaller huts one for the daughters and one for 

the sons of the parents(1936:90). 

2.3.1 The Stad/Kraal 



 29 

 

 

O
u

tsid
e

rs 

1.  

1. Chiefs Hut  

2. Eldest married sons hut  

3. Youngest suns hut  

4. Doro initiation hut  

5. Kraal for small cattle  

   Large tree.  

2.  

3.  4.  

5.  

Kraal  

5.  K
o

ra
n

n
a

 trib
e

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e

m
b

e
rs  

Typical Koranna layout   

Figure 27: Kraal Layout  (Author)   



 30 

The Koranna tribe was known for their impeccable 

craftsmanship. The circular layout of the kraal was done 

primarily by guessing with the eye. In most cases the finished 

huts bestowed an oblong shape rather than a semi-circle

(Holub , 1881: 17) . On this shape holes were drilled into the 

ground using sticks, most often a branch of a vaalbos or wild 

olive was utilised as it comprised of hard wood. The sticks were 

modified by sharpening them and warming them over an 

open fire, to enhance their strength and ‘tool-like’ ability. In 

most if not all cases the woman of the tribe was responsible for 

creating these holes, no matter how hard the soil (Holub , 

1881: 17) . Over time they became masters at this craft. To 

make the job easier a stone hammer was invented to hammer 

the sticks at a slanting angle and not directly from above. 

After the holes were created, freshly cut laths were inserted in 

the wholes. They were then curved from the bottom to the 

top. This provided the finished structure with the iconic 

rounded shape. The laths were usually medium in thickness 

except those used for the entrance, they had to be the 

thickest and strongest laths of the bunch (Holub , 1881: 17) .  

Within this oblong structure, two doors were placed exactly 

opposite each other on the long sides of the hut(Holub , 1881: 

17) . Only one real door was constructed, and the woman had 

to make sure that it was always facing the rising sun (Holub , 

1881: 19) . The other opening or door were only for temporary 

use. This usage usually came in handy when the wind blew or 

too much excessive heat entered the hut.  Each lath was fixed 

in its whole and bent over to find the opposite lath on the 

other side. The first lath usually tied is the one next to the door, 

as well as the second. They were joined (Holub , 1881: 19). 

After this the woman commenced by fixing in place the cross 

lath parallel to each other, making sure their ends did not 

touch the ground, to start forming the structure. Posts were 

placed over the doorways (Holub , 1881: 19). The first mat was 

stretched over from one horizontal post to another with the 

ends fixed firmly with rope. After the first mat was placed, mats 

were placed horizontally downward and a second layer was 

added, this time touching the bottom. All the mats were then 

connected using a needle and thread (Holub , 1881: 19) .  

The rope used came from the Soetdoring bush. The inner bark 

was soaked until soft, which was then battered down until it 

could be rolled into pieces of rope. The needle was made 

from ostrich bone and thread obtained from tree bark. All 

materials used in the hut construction were of natural origin. 

However, the locality of the huts had an immense impact on 

the types of materials available and in effect used for 

construction. Other materials included, Taaibos, Kareeboom, 

wildebeest or horsehair (Holub , 1881: 19). 

2.3.2 Building the Hut 



 31 

+/- 3.33 m  

+
/-

 1
.3

3
 m

  

Fire pit  Figure 28: Koranna hut (Author )   



 32 

The Koranna tribe played a significant role in the history of the Orange 

Free State during the 19th century. Their presence in the region was 

marked by a complex series of interactions with various indigenous 

groups and colonial powers. Notably, the Koranna, under the 

leadership of figures like Gert Taaibosch, were actively engaged in 

conflicts and alliances that shaped the political landscape of the 

emerging Orange Free State. Their support for individuals like Sekonyela 

against rivals like Moshweshwe, coupled with their involvement in 

skirmishes, had political ramifications in the region. Additionally, Gert 

Taaibosch's collaboration with the colonial authorities, such as assisting 

Major Warden during the Battle of Viervoet, further underscored their 

influence. Ultimately, the establishment of the Orange Free State in 

1854 brought about changes in the region's governance and policies, 

which affected the Koranna and other indigenous groups. The history 

of the Koranna in the Orange Free State is a testament to the intricate 

interplay of indigenous cultures, colonial powers, and shifting political 

dynamics in southern Africa during the 19th century.  

2.3 The Koranna in the Free State  2.5 Current Traces of the Tribe  

The current condition of the Koranna tribe reflects a 

complicated journey of identity reclamation and 

cohesion, set against a historical backdrop of 

marginalisation. The Khoi-San identity, of which the 

Koranna are a part, was severely devalued and 

suppressed during the apartheid era. Under the 

Population Registration Act of 1950, they were unfairly 

lumped into the ‘coloured’ category, a term that 

obscured their distinct cultural heritage and historical 

significance. 

Recent decades have witnessed a renaissance of Khoi

-San identity, spurred by constitutional recognition and 

government policies such as land reform. Free State 

Koranna Community Committee (FSKCC) and 

individuals such as Jaftha Davids have been 

instrumental in this revival. Despite initial resistance, 

Davids and Willem de Wee took the initiative to register 

Koranna people as members. Their efforts culminated 

in Jaftha Taaibos-Davids being recognised as the chief 

of the Koranna in the Free State. However, the path to 

unity and cultural preservation has not been devoid of 

Figure 29: Koranna weg-breek, made use of existing Kraal remains 

in order to construct an guest farm in the aera (Koranna 

wegbreek, n.d. Online  )   



 33 

obstacles. Progress has been impeded by 

disagreements among Khoi-San groups, including the 

Koranna. Despite efforts to resolve differences, 

disagreements persist. Nonetheless, the establishment 

of the Free State Koranna Culture & Heritage Council 

Trust and the Taaibos-Davids Koranna House are 

significant steps towards preserving and promoting the 

culture and identity of the Koranna people. These 

organisations encompass numerous facets of 

community life, from language and culture to youth 

and women's groups. 

In conclusion, the current state of the Koranna tribe is 

characterised by resilience and resolve in the face of 

historical erasure and internal challenges. They are 

gradually reclaiming their identity and working toward 

a more united and culturally vibrant future through 

concerted efforts. 

A 
nalysing the tribe and their indigenous architectural styles generated essential conceptual factors that 

will exert a profound influence on the design proses of the intervention. The above has highlighted known 

history, rituals, construction, and way of life which has allowed for a pivotal perspective on ways in which 

one can construct a centre for the tribe. Thus, this chapter has allowed for a better understanding of the 

tribe but also added to the clues and ways to create the intervention. Chapter Three will provide more detail as it 

looks at the proposed site which was once the home of the Koranna.  

2.6 Conclusion  



 33 

 

 

3.1 Introduction  

3.2 Macro site analysis  

   3.2.1 Korannaberg history 

   3.2.2 Climate  

   3.2.3 Soil  

   3.2.4 Vegetation 

   3.2.5 Animal life  

   3.2.6 Community  

   3.2.7 Tourism  

   3.2.8 4X4 routes  

   3.2.9 Hiking trails 

3.3 Mezzo site analysis  

   3.3.1Accessibility  

   3.3.2 Surrounding structures   

3.4 Microsite analysis  

   3.4.1 Alternative site analysis 

   3.4.2 Site Characteristics 

   3.4.3 Site environment  

   3.4.5 Site access 

3.6 Conclusion  

03 

CHAPTER 

Figure 30:  A photo of view of the site (author)  



 34 

 

 

3.1 Introduction 

C 
hapter one was used to ground the project and give a clear 

problem statement and overview of the problems that need to be 

adjusted. Chapter two allowed for the deeper understanding of the 

Koranna tribe, setting out a framework to use as a guiding tool for 

the project. This chapter will provide a deeper analysis of the chosen site to 

gain a better understanding and engagement with possible factors on the site. 

In response to the project's problem statement, objective, and research 

question, this chapter focuses on gathering and compiling pertinent 

information, as well as exploring creative experiments and ideas. The purpose of 

this section is to support the theoretical argument to follow while informing the 

design synthesis and technical development of the scheme. A site analysis of 

the selected site to comprehend the site within the context of the Free State 

landscape will influence the design, construction, and theoretical underpinning. 

The focus of this discussion will be the site located on a hill at the foot of the 

Korrannaberg in Mantsopa municipality. This can be seen as a space of 

diverging histories, as this was home of the Korranna and the Basotho’s and has 

also been of the ownership of Afrikaner families for many generations.  

 The chapter will be structured into five different scales of site analysis  



 35 

 

 

3.2 Micro site Analysis  

1.Lesotho 

2.Golden gate 

3.Bloemfontein  

4.Oranje River   

 

1 

2 

3 

4 

Thabo Mofutsanyana district 

Mantsopa local Municipality  

Figure 31: Eastern parts of the Free State (author)  



 36 

 

 

The location of the site is in the province of Free 

State's easternmost district, the Thabo 

Mofutsanyana district.  Referring to figure 32, this 

area is situated on the frontier between the Free 

State and the Lesotho mountain kingdom. Due 

to the natural beauty of the mountainous 

landscapes, it is typically regarded as one of the 

most beautiful areas of the province, if not the 

entire country. The area is sparsely populated, 

and serene, and contains many small towns 

scattered across the mountainous terrain. The 

Eastern Free State (Thabo Mofutsanyana), which 

is sandwiched between the Orange River in the 

south and the Vaal River in the north, has a 

rough and mountainous region in the east that is 

completely at odds with the stereotype of the 

Free State as having endless maize fields and dry, 

blue skies(SA-Venue, n.d. :Online)  Whether it's 

the Golden Gate National Park or the hiking trails 

and 4X4 routes of the Korannaberg, this region of 

the Free State draws a sizable number of tourists 

each year because of its picturesque 

environments.    

Free State Province  

Figure 32:  Free State province author)  



 37 

 

 

The climate of the Korannaberg is extremely variable. 

Temperatures average around 30°C during the day in the 

summer. In the dead of winter, nighttime lows can dip to 

below freezing. Days are pleasant in general, and they 

are especially enjoyable during the months of September 

to April, making this part of the year ideal for tourism, al-

lowing for hiking, fishing and everything else the area of-

fers. The area gets an annual avarege rain fall of 

If that's the case, the sun's rays won't be as harsh. Around 

900 millimeters of rain falls in the late afternoon and early 

evening on average. There are times when the larger 

clouds demand that the lesser ones make way. The 

3.2.1 Climate 

3.2.2 Soil 

The mountain is surrounded by ridges, valleys, and terrac-

es. The altitude ranges from 1500 m above mean sea level 

in the plains, to 1881 m on the mountain (du Preez 1992: 

online). Silt- and mudstone, along with medium- to coarse-

grained sandstone, are found in layers that alternate with-

in formations. The genesis of these layers is fluvial. High 

base status, yellow, apedal, well-drained, oligotrophic soils 

predominate the region. The following soil types can be 

used to categorise the soil types: Clovelly, Mispah, 

Estcourt, Avalon, Hutton, Cartref, Longlands, Oakleaf, Dun-

dee, Constantia, and Fernwood (du Preez 1992: online). 

Figure 33:  A photo of alternative site analyse findings (author)  



 38 

 

 

3.2.3 Vegetation 

The Korannaberg has various vegetation types that cover 

the mountain. Five groups of major species were identified 

through a vegetation survey done by the Land type sur-

vey staff in 1984. Dry grassland, moist Afromontane grass-

land, fynbos grassland, Afromontane ravine forests and 

open shrublands. Within these groups various of plant spe-

cies such as native wild grasses including Themeda trian-

dra (red grass), Eragrostis species, and Digitaria argy-

rograpta (silver finger grass) grow tall and provide food for 

numerous tiny mammals and insects (Free State Botanical 

Society of South Africa, 2020: online). 

Commonly found tree species include Vachellia karroo 

(sweet thorn), Olea europaea (wild olive) and Searsia 

lancea (karee). Wild flowers such as the Crinum bulbisper-

mum (Orange River lily), Brunsvigia grandiflora 

(candelabra), Boophone disticha (poison bulb), Aloe 

grandidentata (bontaalwee), Aloe maculata (soap aloe), 

The community currently comprises of majority farmers, with 

very little known descendance of the Koranna still living in the 

area, there is however a number of Koranna descendance 

families living in the Bloemfontein, Thaba Nchu and Ladybrand 

district.  

3.2.4 Community  



 39 

 

 

The mountain is known for a wide range of animal species inhabiting the landscape. Over 

277 different bird species including the Cape Vulture, Black Eagle, Martial Eagle, 

‘Bokmakierie’ and Southern Black Korhaan can be found within the area. Apart for lions 

the Wildlife including the blue wildebeest, eland, oryx, baboon, koedoe, and cape porcu-

pine, to name only a few, thrive within the Korannaberg (Fourie, 2011:31) 

3.2.5 Animal life 

Figure 34:  Birds of Free State (Avibase, 2023: online). 



 40 

 

 



 41 

 

 

The area offers various tourist attractions, 

one of them being 4X4 mountain trails. 

The ‘Koranna Wegbreek’ is one of the 

top 6 routes in South Africa (Fourie, 

2011:14) This trail is not only one of the 

most beautiful 4x4 routes, but also pose 

an immense challenge, many come to 

take on. The area also offers 4 other trails 

to be embarked on via vehicle, foot of 

mountain bike (Book reference). This 

route is also crossing the prosed site, with 

the trail being one of the reasons for the 

choices of site.  

   3.2.6 4x4 Routes  

Figure 35:  4x4 routes map  (author)  



 42 

 

 

The area also offers an enticing 2-day 

hiking trail consisting of 27km. The 

Koranna hiking trail passes through a 

waterfall with many obstacles and 

challenges ending off with overnight 

accommodation in the overnight cave. 

(Fourie, 2011:40) 

   3.2.7 Hiking trails  



 43 

 

 

3.3 Mezzo Site Analysis : The Korannaberg  

Proposed site  

Koranna Wegbreek 

(Tourist accommodation)  

 

Meri-Metsu  

(First missionary station )   

Mequtling  

(missionary station )   

Water Fall   

Rock art Cave   

Klein vet river 

Road to site 

Figure 36:  Messo site analysis of Korannaberg  (author)  

 



 44 

 

 

The site is located on the foot of the mountain, situated on the 

Northeastern side of the Korannaberg. The most transferable access 

towards the site includes a public dirt road when turning of the tar 

road, followed by a current two track dirt road that will lead you up to 

the site. This route allows one to experience the nature of the 

surroundings and a glimpse into the area of the Koranna inhabitant.  

Moving up the mountain, one will be able to interact with the first of the 

kraals as well as the landscape surrounding it.   

3.3.1 Accessibility  

Klein vet river  

Road to site  



 45 

 

 

The surrounding structures consist primarily of scattered 

farmhouses and a few cabins for overnight stays. The region's 

architectural styles are comprised of sandstone sourced locally 

and corrugated roofs. The farmhouses are accompanied by a 

barn made from either lightweight steel with a corrugated roof 

or sandstone with a corrugated roof. In addition to the shelter-

focused buildings, the rural scenery is punctuated by essential 

agricultural structures, including silos and windpompe. These 

prominent building and structures not only offer insights into 

the preferred building materials but also provide valuable 

insights into the building techniques and craftsmanship of the 

area.  

3.3.2 Surrounding Structures  

Figure 37:  Surrounding structures Fourie, 2011: 45 ). 



 46 

 

 

G
u

m
 p

o
le

s  

     C
o

rru
g

a
te

d
 ro

o
f sh

e
e

tin
g

  

     S
a

n
d

 sto
n

e
  

      Th
a

tc
h

  

    C
o

n
c

re
te

  



 47 

 

 

3.4 Microsite Analysis  

3.4.1 Site Details (Kraals) 

Figure 38:  A Micro site analysis (author)  



 48 

 

 



 49 

 

 

   3.4.1 Alternative site analysis: 

Problem Statement  

Buildings have the power to immortalise the whispers of time etched in 

the land by those long gone. To better understand the history and 

evolution of a site, how can we measure and record the traces left 

behind by previous occupants, such as water erosion, cattle 

movement, or the Koranna? What techniques can be employed to 

document These changes over time and paint a more accurate 

picture of the sites past, given that these traces continue to change 

and evolve with time? How can this procedure be used to develop a 

cultural centre that honours the sites past while safeguarding its 

heritage for future generations? 

 

Poiesisphilia  

According to Vidler (2000) “Architecture is a material culture that is 

bound by time, and it is not eternal or timeless. Instead, it is a temporal 

art that is always evolving and haunted by the past."  The remnants of 

the past, known as temporal architecture, also continue to change 

and develop over time. By examining these remnants, we can gain 

valuable insights into the sites history and evolution, which helps us to 

form a more complete picture of its past. Analysing and interpreting 

these traces allows us to create new narrative for the site while 

acknowledging its history. Furthermore, comprehending the past 

enables us to make informed choices about how to preserve and 

safeguard the site for future generations. This knowledge also helps us 

to appreciate the cultural significance of the site and its role in 

shaping our collective history. The site provides the opportunity for a 

story to develop, revealing the remnants of past and present 

inhabitants, even if we weren’t present. The site is still instructive about 

the local past and gives us a glimpse into the lives of those who once 

called this place home.  

 

 

Insights                                                                                                   

The three locations chosen for device placement were; cow 

paths, the remains of the Koranna kraals, and the rocks 

where erosion took position. After being positioned, the sticks 

were given time to set before flat-ended clay was applied to 

the device, leaving an imprint. These clay slates adjusted the 

height of the sticks by creating dense, semi or no patterns at 

various intervals provided by the site. 

The Vestiges of Denizens 



 50 

 

 

COW PATHS 

REMAINS OF STRUCTURES  

ROCKS WITH EROSION  

Figure 38-41:  Alternative site analysis (author)  



 51 

 

 

3.4.2 Site Characteristics 

The location is isolated from any town, but close enough 

for tourists to enjoy nearby activities. The location offers a 

panoramic view of the nearby mountain ranges. It consists 

of a sloping terrain at the foot of the Korannaberg, with 

Koranna kraals scattered across the landscape. The site 

will receive sunlight from the north throughout the day, 

while the mountain surrounding it to the west will provide 

afternoon shade. 

3.4.3 Site Environment  

The site which is a current agricultural landscape offers a 

portal to understanding the Koranna way of life. The 

surroundings are mostly untouched and this allows for a 

better  understanding of the environment.  

3.5 Conclusion  

In this chapter, a comprehensive analysis of the proposed site, 

situated at the base of the Korannaberg in the Mantsopa 

Municipality, Free State, South Africa was conducted. The aim 

was to gain a profound understanding of the site on multiple 

scales to inform the project's design and technical 

development effectively. On the macro scale, the broader 

context of the site within the Thabo Mofutsanyana district were  

Figure 42-47:  Environment (Nmikimro, 2022: online)  ( author).  



 52 

 

 

looked at, known for its natural beauty, mountainous terrain, 

and sparse population. The site analysis revealed a rich history of 

diverse inhabitants, varying climate conditions, and unique soil 

and vegetation types. The microsite analysis uncovered subtle 

traces of time, such as water erosion patterns and cattle 

movements, essential for understanding the sites history and 

evolution. 

In summary, the site analysis has provided valuable insights into 

the sites physical, historical, and cultural context. These insights 

will serve as a strong foundation for the subsequent design 

stages, ensuring that the intervention does not only respects the 

sites rich history but also preserves it for future generations. This 

chapter form an instrumental part in shaping project approach 

and understanding, setting the stage for the design synthesis 

and theoretical underpinning to follow. 



   

 

 

04 

4.1 Introduction  

4.2 Narrated Topology: Unveiling the hidden narratives of the site.  

   4.2.1 Traditional placemaking analysis  

   4.2.2 The phenomenology of nostalgic architecture  

   4.2.3 Resonating remembrance in architecture  

   4.2.4 Amalgamating horizons  

4.3 Typological Embodiment: Ordering Function, inhabiting Temporali-

ties and evoking lived experience through built form. 

   4.3.1 Facilitating dialogue between ordering functions and design. 

   4.3.2 Inhabiting temporalities – Pallasma  

   4.3.3 Evoking lived experience through built form.  

4.4 Morphology and Regionalism: Tracing Identity  

   4.4.1Layering traditional design principles  

   4.4.2Building as translator  

   4.4.3Precedent study  

4.5 Chapter conclusion  

4.6 Theoretical strategy diagram  

 

Th
e

 N
a

rr
a

ti
v
e

 o
f 
th

e
 i
n

-b
e

tw
e

e
n

 
 

Figure 48:  Korannaberg Rock   (author)  



 54 

 

 

4.1 Introduction 

The Modernist rationale of ‘form follows functions’ is being used frequently over time by 

different professionals and academics, this approach by Louis Sullivan suggests that the 

design of a space or building should primarily be based on its intended function or 

purpose. In other words, the form or appearance of the design should be a direct result 

of its function, rather than being primarily driven by aesthetics or ornamentation. This 

approach is however re-configured and re-adapted to become the main approach of 

this theoretical chapter as form follows traces to create a narrative for the site on which 

one can build future narratives from.  

 

 

 

 

 

 

However, to answer the research question stated in chapter one this chapter will 

explore various ways in which the traces present can guide the design. Be it the physical 

traces of staked stone on the site, the traces or lack thereof in the history books, this 

chapter will focus on ways in which one can gather from the past to creatively reveal 

the hidden. This will be done by three main points. Firstly discussing unveiling the 

narrative of the site through placemaking in an attempt to better understand the site 

and topology. Through the theoretical lenses of Tafuri, there after a better 

understanding of a nostalgic approach to architecture will follow thereafter looking at 

Lebbues Woods’ understanding of memory and architecture. Secondly possible clues to 

guide the typology will be explored temporalities through the lens of Pallasma and ways 

in which to order the functions of the building. Lastly the possibilities and clues on a 

morphological solution will be explored through embracing indigenous design principles 

and precedent studies.   



 55 

 

 

4.2 Narrated Topology: Unveiling the Hidden Narratives of the Site  

The Norwegian architectural theorist Christian Norberg-Schulz emphasises the 

importance of understanding the phenomenology of a place, which means 

looking at how individuals experience and perceive a place. In his book The 

Concept Of Dwelling he brings the notion of the concept of space to light. This 

concept “offers a point of departure for a return to figurative 

architecture” (Norberg-Schulz, 1993 :7). Norberg-Schulz then stated, thus, we 

dismiss the "non-figurative" approach of functionalism and open the door to an 

architecture that can satisfy the existential need for habitation (1993:7). “When 

dwelling is accomplished, our wish for belonging and participation is 

fulfilled” (1993:7). Meaning that place-making can emerge as a transformative 

strategy for shaping our environments. This design philosophy places topology at 

the forefront as we explore the art of designing spaces that resonate with identity, 

affiliation, and shared experiences. Understanding the topography, landscape, 

and geography of a site sets the groundwork for a narrative-driven approach to 

place-making. This sub-section will explore how revealing the narrative buried 

within a site can inspire one to create meaningful, sustainable environments that 

honour the past, embrace the present, and pave the way for a future that is 

inclusive of all narratives.   

Figure 49: Discovering the hidden narratives on site author) 



 56 

 

 
Figure 49: Discovering the hidden narratives on site author)  



 57 

 

 

4.2.1 Traditional Placemaking Analysis  

Formerly inhabited by the Koranna tribe, the chosen site is now 

agricultural farmland. It is essential, when designing on this land, to 

consider not only the remnants of the tribe's way of life, but also the 

larger historical context. The Italian architect, theorist, and historian 

Manfredo Tafuri offers an alternative interpretive reading of historical 

dimensions, rejecting the traditional linear view that depicts progress as 

a simple narrative. Instead, he stresses that history is a complex 

interaction of ideas, power structures, and socioeconomic factors 

(Tafuri cited in Keyvanian, 1986:73). The viewpoint of Tafuri urges one to 

view history not as a linear progression, but as a complex tapestry 

woven from social, political, and cultural factors that influence 

architectural development (1986:73). By analysing historical context 

and various influences, we can gain a deeper understanding of how 

external forces shaped and affected the way of life of the Koranna 

tribe. In addition, Tafuri's argument encourages one to critically assess 

the effects of colonisation and other historical events on indigenous 

communities and their muted narratives, highlighting the significance of 

adopting a holistic perspective when studying history. This method 

enables one to untangle the complex web of influences that shaped 

the tribe's social structures and beliefs and ultimately led to the decline 

of their culture. To achieve a comprehensive understanding of the 

history and culture of the Koranna tribe, it is necessary to consider 

multiple perspectives and sources of information, as well as the 

potential biases and limitations of those sources. By engaging critically 

with tradition, architects can design spaces that draw from the past 

while addressing the challenges and aspirations of the present 

(1986:75). 

 

 

Figure 50:  The Koranna origin (author)  



 58 

 

 

The history of the Koranna tribe has often been misrepresented by 

outsiders and colonial oppressors, resulting in a skewed and 

negative portrayal. Their nomadic lifestyle, driven by a pursuit of a 

better standard of living and clan divisions, faced threats from 

both colonial forces and other cultures in the region. Designing a 

temporary and portable building is not enough to understand 

their way of life; instead, one must delve into the core concept of 

dwelling through nomadic shelter. The shelter created by the 

Korana was not lone standing, it however created a kraal. A kraal 

represented a community, a community represented a city. These 

shelters were not placed at random but had specific reasons for 

being placed in a circular pattern, shaping a piece of land into a 

transformative asset that strengthened connections within the 

tribe. When the tribe settled onto a piece of land the land 

associated with a very specific type of identity. This identity in 

owned by the Koranna created a meaningful place in which they 

made their place. The term placemaking describes the Koranna 

well as they were the masters in making a place their own. 

Placemaking can be divided into three categories: accessibility, 

sociable and active spaces(1986:88).  For the Koranna 

accessibility meant an east entrance to a private dwelling with all-

round accessibility for the other members living within the city. The 

sociable aspect included beacons for interaction such as 

meetings under a large tree, spot for initiation, and a central fire-

pit. The active spaces included temporal traces between huts as 

well as more permanent traces left by the remnants of their 

fleeting city. 

To create a meaningful structure that promotes placemaking, the 

new intervention should focus on embracing a temporal 

aesthetic, along with a program that promotes the three aspects 

of placemaking as accustomed by the Koranna. By doing so, a 

deeper comprehension of the project's topology emerges, 

interpreting the traces of their kraals as reflections of their political 

relationships with other cultures and tribes, rather than just their 

physical forms. This approach allows the design to capture the 

cultural significance and historical context of these nomadic 

shelters, ensuring that their essence and adaptability are faithfully 

represented. Moreover, by exploring the social dynamics and 

interconnections between different nomadic communities, the 

design can emphasise the importance of cultural exchange and 

collaboration in shaping their architectural expressions.  In this 

way, the resulting structure becomes more than just a physical 

shelter; it becomes a true celebration of the Koranna people's rich 

heritage and their resilient way of life.  

 

Contextual Understanding: Within the proposed intervention the 

entrance is located towards the east with a meeting place 

facilitated by an amphitheatre constructed around the largest 

willow tree on site. The intervention also makes use of an eternal 

fire-pit that serves as a constant reminder of the tribe and their 

previous remnants on site. The intervention lastly takes shape 

around the permanent traces left behind by the tribe. The active 

spaces commence around this allowing the dweller to forge their 

own temporal traces throughout the structure, as they actively 

engage with the program. 



 59 

 

 

4.2.2 The Phenomenology of Nostalgic Architecture       
Tradition as a concept is important to societies because it anchors 

cultural values, heritage, and identity (Casey, E. & Morano, D. 

1986). In contrast, nostalgia refers to the sentimentality and 

longing for the past (Casey, E. & Morano, D. 1986). Tradition and 

nostalgia are intertwined because they frequently evoke a sense 

of comfort and familiarity with the past, resulting in the 

preservation and reinterpretation of historical elements. One 

manifestation of nostalgia is nostalgic architecture, in which 

architects and designers take inspiration from historical styles and 

elements to create new structures (Casey, E. & Morano, D. 1986). 

Nostalgic architecture aims to evoke feelings associated with the 

past and gives individuals the opportunity to relive historical 

events in a modern setting. Centre Cultural Jean-Marie 

Tjibaou (see 2.4.2) can be seen as an example of nostalgic 

architecture. 

However, even though nostalgic architecture can be charming 

and elicit positive emotions, it also runs the risk of being merely 

imitative or pastiche. Replicating historical styles without 

understanding their context and significance may result in a 

superficial appreciation of the past (Casey, E. & Morano, D. 1986) 

Moreover, a preoccupation with the past may impede innovation 

and prevent the creation of a new architectural language that 

reflects the spirit of the present. This can also be accomplished in 

a different manner such as a building dedicated to an indigenous 

tribe that combines elements of tradition and nostalgia in a way 

that simultaneously honours the past and embraces the future. 

The main feelings contributing to the past includes, the pressure 

felt by the tribe from the colonial oppressors as well as the 

uncertainty that settled with the timeframe of inhabiting a piece 

of land. In contrast a feeling of triumph came to light in 

accordance with their victories and major life events, that caused 

for celebration. However, these feelings that will have the 

potential of evoking the past within the dwellers entering the 

building will have to be done in a very sensitive non-direct way. 

This will avoid the risk of imitative representational architecture. 

This allows the dweller to have a very focused and precise 

experience, scripted by the notions of time and the immediate 

subconscious connotations made through the mind when 

encountered in a space or place.  

Instead of merely imitating historical styles and layouts of the 

Koranna, it is important that the intervention be conducted 

through thorough research to understand the cultural, social, and 

technological context of the past. By grasping the essence of 

their traditional architecture, one can then reinterpret those 

elements in a meaningful way that resonates with the present. For 

example, the Koranna kraal layout had a specific purpose, as 

explained in the history chapter. In their case, one cannot merely 

imitate the fact that the clan heads hut was situated right across 

from the Kraal with his sons being placed left and right in 

accordance with their age in this case, it is important to rather see 

the underlaying idea, which is that the most important building will 

be placed west of the Kraal with the rest, being less important, 

being placed around it.  

Contextual Understanding: 

In the case of the Centre For Cultural Discovery, the most 

important function is that of the anthropology centre, for this 

reason, the Centre will be placed right across from the kraal to the 

west. Therefore, the traditional specific layout of the kraal has 

been reinterpreted and given new meaning, whilst still drawing on 

the traditional nostalgia set by the cultural heritage. Within the 

intervention the feelings of pressure and triumph is presented as 

one embarks on the journey through the centre. On approach a 

feeling of uncertainty settles as to what lies beyond the initial 

entrance. The entrance adorned with diagonal walls creates a 

single file walking relationship that evokes a feeling of captivity. As 

the journey continues the intervention opens-up to a massive 

kraal, evoking the feeling of triumph and astonishment. These 

elements will not only evoke a feeling of the past but will also 

relive the historic events that happened on site in a modern way.  



 60 

 

 

Figure 51: The traces of the past marking the future (author)  



 61 

 

 

4.2.3 Resonating Remembrance in Architecture  

Figure 52  The Kraal echoing remembrance  (author)  



 62 

 

 

As demonstrated in Bastea's work, memory and architecture 

have a close relationship that makes it possible to design spaces 

that both celebrate the past and engage with the present. In 

this context, the term ‘memory’ refers to the collective recall of 

a place's past, cultural significance, and inhabitants' 

experiences over time (Bastea, 2004:28). Memory-based 

architectural design enhances the experience of its users while 

preserving the place's identity. This also provides the opportunity 

for history to echo throughout a structure and not be forgotten. 

Although not all visitors might be familiar with the Koranna tribe 

and their history, settlements, or folklore, the building aims to act 

as educator. Not only does this aid in the lack of knowledge 

vastly found within this region, but it also aims to inspire and 

recolour the faded memories of those who do remember into a 

vivid profound memory.  

Furthermore, the unfortunate condition known as ‘place 

amnesia’ occurs when the scars of neglect and development 

confuses the sites historical identity(2004:30) Memory-infused 

design interventions help a site transcend its scars (2004:32) 

Many urban areas lose their distinctive characteristics and 

historical context as they develop and grow, which creates a 

disconnect from the past and the eroding of cultural identity

(2004:36). However, in the case of the Korana, the ruins left in the 

landscape became a type of nonplace since their removal 

under the government of the colonial South Africa was deemed 

as forceful. This removal although done in unforeseen 

circumstances had a negative influence at the time, today it 

has a profound impact. This removal done in a very rapid 

unorderly fashion led to the traces as known today, being much 

more prominent and left behind a more visible image of their 

lived circumstances. This image allows the new intervention to 

have a memory-infused essence, preserving the identity of not 

only the tribe but also the place where they once settled.  A 

sites memory must be preserved and celebrated to ensure the 

cultural continuity of subsequent generations. For the site to 

reclaim its identity as a meaningful non-place an environment 

that fosters a sense of belonging, community, and connection 

with the past, this entails carefully integrating historical elements, 

artefacts, and narratives into the design process. By doing so the 

Koranna history is not only recalled, but it tells a story and 

continues to echo through the past, present, and future. 

Topology is a crucial component of placemaking because it 

reveals a sites history and helps to define its identity, in chapter 

three an in-depth site analysis was conducted. This allows for the 

proposed design to draw from the past while meeting 

contemporary need, through the traditional placemaking 

analysis. This will provide insights into the sites history and cultural 

heritage. Nostalgic architecture has the ability to allow the 

integration of historical elements in a relevant and sustainable 

way, evoking emotion and a sense of familiarity. By maintaining 

a sites identity and enhancing the user experience, memory in 

architecture combats the amnesia of place. (2004:38)  

 

 

Contextual Understanding: 

The intervention houses the relocation facility for various 

precious artefacts found over the entire continent. These 

artefacts include everyday living utensils, hunting equipment 

and primitive tools. These artefacts will be on display and aid in 

the educating process. The entrance is made up of diagonal 

walls that act as moving partitions, to which the visitor is 

confronted with narratives or the past. This acts as the starting 

point to recall and relive the history of the site, connecting the 

past to the present. The intervention provides a clan wall of 

remembrance to connect the site to a very specific identity and 

reclaim the once lost land. 



 63 

 

 

4.2.4 Amalgamating Horizons 

The aim of the building is to ensure the preservation of the 

historical, whilst being reinterpreted into a modern typology. 

According to the French philosopher Paul Ricoeur in his book Life 

In Quest Of Narrative According to him, the use of narrative allows 

for reconstruction, reactivation, innovation, and interaction 

(Ricoeur, 1991: 25). He defines narrative as a type of intersection, 

a new beginning in a realm of discourse that opens a horizon of 

experiences and integrates the relationship established by the 

plot or, in this instance, the site. (1991:25). "Stories are told rather 

than lived..."(1991: 20). The tales told by the Koranna helps to 

establish a non-linear narrative that reconfigures our 

understanding of the history itself. These tales aided in the 

ongoing preservation of the culture and their way of living. 

Therefore, storytelling and narrative is one of the most important 

elements in aiming to bridge the gap between historical events 

and modern-day interpretation. The intervention will tell the story 

of the Koranna for many years to come, educating each 

generation as before. This century old way of retelling stories is 

precisely what will keep the history alive for many decades to 

come. 

This type of amalgamation will allow the past to blend seamlessly 

with the present, forming a multi layered narrative that creates a 

meeting place within these time frames. Suddenly the intervention 

although newly interpreted, holds the power to transport one 

back in time, whilst simultaneously experiencing the old kraal from 

past, in the present day. In essence the intervention acts as a 

mediator between the past and the present, forming an in-

between relationship. A hidden narrative only accessible, through 

the binding of timely horizons.  

 

Contextual Understanding: 

The intervention accommodates for this type of mediation. The 

past and present is simultaneously experienced in many aspects, 

nevertheless the amphitheatre facilitates the main physical story 

telling component. Here stories of the past are told in a present-

day setting, however as the amphitheatre sits right across from the 

old kraal, one would have a clear view of the old kraal in the new 

theatre. Here the hidden narrative comes into play. Imagine 

sitting in the newly constructed amphitheatre, listening to stories of 

the past and being able to directly imagine and visualize them in 

the old kraal right in front of you. This allows for the stories of the 

past to come to life within the present, subconsciously extracting 

the hidden narrative through timely horizons.  



 64 

 

 

Figure 53:  Becoming part of the Korana through story telling (author)  



 65 

 

 

4.3 Typological Embodiment: Ordering Function, Inhabiting Temporalities and Evoking Lived Experience 

through Built Form  

Architectural design places significant importance on the integration of technical 

functionality and imaginative vision. This concept echoes the profound philosophical ideas 

put forth by Maurice Merleau-Ponty, who underscored the complex interplay between 

vision and motion in the human body. Akin to how the human body perceives and is 

perceived concurrently, for design to be fruitful, its creative and technical components must 

engage in a seamless dialogue. This symbiotic relationship can be likened to the correlation 

between the hand's imprints, which render the invisible visible, and the eye, which 

s imul taneously perceives and is inf luenced by the environment. 

 

By capitalizing on the insights of Finnish architect Juhani Pallasmaa, our intervention delves 

deeper into the concept of temporalities in design, placing particular emphasis on human-

centered design, sensory experiences, memory, materiality, and timelessness. These ideas 

are consistent with the historical customs of the Koranna people, whose dwellings and 

patterns of settlement were striking representations of their environment and culture. By 

channeling these principles into our design intervention, we hope to elicit a sense of 

presence through the physical structure, thereby enabling occupants to become 

inseparable from the area, its history, and the Koranna legacy.  

 

 



 66 

 

 



 67 

 

 

The French philosopher, Maurice Merleau-Ponty states in his book The Eye and 

Mind that one’s body is the vessel for experiencing the world. The body is not seen 

as an object for occupying space, it is rather seen as an interweaving of motion 

and vision, attached to one another (Merleau Ponty, 1964:124) .  

He maintains that a body has a simultaneous nature, as it is capable of seeing whil

e being observed by others (1964, 124). This creates a type of overlap. In essence 

in a design the overlapping of creative and technical aspects is a common 

occurrence that must happen to ensure a successful outcome. However, in order 

for this overlap to be as seamless as possible, a type of dialogue needs to originate 

from the creative or design point and the more technical or functional standpoint. 

This dialogue can be seen as many things as possible however it is a symbiotic 

relationship where the one supports the other. “The eye is an instrument that moves 

itself, a means which invents its own ends; it is that which has been moved by 

some impact of the world, which it then restores to a visible through the traces of 

the hand” (2011: 127) perception hides itself in a bodily event. 

The Koranna and their movement patterns generated a ‘hidden’ dialogue 

between their huts and their settlement areas. Only through the bodily event of 

dwelling, the Koranna was able to expand and connect their settlements.  

Contextual Understanding: 

The intervention aims to not only overlap function and design, but to facilitate a 

dialogue between the two elements. In the design the walkways act as the main 

overlap between the designed building and the ordering functions on site. The 

pathways act as the dialogue between the two, linking them and connecting the 

design to the site. 

4.3.1 Facilitating Dialogue Between Ordering Functions and Design. 



 68 

 

 



 69 

 

 

4.3.2 Inhabiting Temporalities:  

The concept of temporalities holds a profound significance, 

embodying the intricate interplay between the ever-evolving 

nature of time and the enduring qualities of space. The 

renowned Finnish architect and theorist, Juhani Pallasmaa, has 

masterfully delved into this theme, offering profound insights 

into how the dimension of time influences our perception of 

buildings. In this discussion, to follow five key facets of 

temporalities in design as illuminated by Pallasmaa's body of 

work will be briefly discussed. Each of these aspects contributes 

to a holistic understanding of how time, in its various 

manifestations, shapes the way we conceive, interact with, 

and remember the spaces that surround us. 

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Sensory Experience and Time:  

The sensory experience in a building is of 

utmost importance. Pallasmaa's agrees 

with this in his book The Eyes of the Skin: 

Architecture and the Senses (2005) where 

he underscores that architectural spaces 

should engage all senses (Pallasmaa, 

2005:28). This translates to considering not 

only visual aesthetics but also tactile quali-

ties, acoustic properties, and even the 

scent of materials. For instance, the tex-

ture of a surface, the play of light and 

shadow over time, and the soundscapes 

within a space all contribute to how occu-

pants perceive the passage of time and 

their connection to a place (Pallasmaa, 

2005:29) 

Figure 54:  sensory experience in building (Unsplash, n.d. : online)  



 71 

 

 

Memory and Design:  

The intervention should be able to harness 

the power of memory through spatial ele-

ments. Pallasmaa's work in The Architec-

ture of Image: Existential Space in Cinema 

(2001) suggests that architectural forms 

can evoke memories and create a sense 

of temporality (Pallasmaa, 2001: 52). This 

means incorporating elements that trigger 

associations or emotions tied to personal 

or cultural histories, forging a profound 

connection between occupants and the 

built environment (Pallasmaa, 2001:53). In 

terms of the Koranna tribe trying to create 

a structure that structurally reminds one of 

that of the Koranna hut being a sterotom-

ic base with a tectonic structure.  

Figure 55:  Memory and design (Unsplash, n.d. : online)  



 72 

 

 

Materiality and Aging  

Pallasmaa's reflections in Encounters: Ar-

chitectural Essays (2005) offer profound 

insights into the dynamic relationship be-

tween materials and time in architectural 

practice (Pallasmaa, 2005:60).  Materials 

used in construction age and weather, 

transforming both aesthetically and func-

tionally. Architectural designs that em-

brace this transformation consider the 

temporal aspect of materiality, creating 

spaces that evolve gracefully with time. 

The patina acquired by materials over the 

years becomes an integral part of the ar-

chitectural narrative, reflecting the build-

ing's journey through time (Pallasmaa, 

2005:60). 

Figure  56: Memory and aging of stone ((Unsplash, n.d. : online)  



 73 

 

 

Timeless and Authenticity:  

Pallasmaa's underlying principles, aligned 

with The Thinking Hand: Existential and Em-

bodied Wisdom in Architecture (2009), un-

derscore the pursuit of timelessness in ar-

chitectural design (Pallasmaa, 2009:28). 

Timeless architecture transcends fleeting 

trends and remains relevant across gener-

ations. It achieves this by prioritising au-

thenticity, drawing from cultural and histor-

ical contexts, and integrating enduring 

design elements. Architectural creations 

that embody this philosophy stand the test 

of time, continuing to resonate with occu-

pants and the surrounding environment 

(Pallasmaa, 2009:36).  

Figure 57:  Timeless  (Unsplash, n.d. : online)  



 74 

 

 

Human-Centred Design  

While not directly cited by Pallasmaa, his 

human-centred approach to design aligns 

with principles presented in "The Archi-

tect's Studio Companion: Rules of Thumb 

for Preliminary Design" (Allen & Iano, 

2012:44). In architecture, human-centred 

design entails a keen understanding of 

how occupants interact with and adapt 

to spaces over time. Architectural designs 

that prioritise the evolving needs and ex-

periences of users create functional, 

adaptive environments that stand the test 

of time (Allen & Iano, 2012:46).  

Figure  58:  human centered design (author)  



 75 

 

 

In terms of the Koranna tribe these five key aspects can be 

found in their ways of living and inhabiting the land they 

settled on. Firstly, a sensory experience emerged from their hut 

building techniques and materials used to create their huts. 

Their huts were known for their layering of weaved grass and 

dried animal skins. Not only did this provide a desired texture to 

the outside appearance of the hut, but it also acted as 

shading devices to control the amount of light entering the hut 

from the lone placed West window. Secondly, these huts were 

directly associated with the Koranna drawing on a type of 

memory that holds a very specific connection. Thirdly, the 

materials used to construct these huts weathered with time, 

transforming the overall aesthetic. Fourthly, the architecture 

produced by this tribe remained authentic and timeless over 

centuries, even when they relocated remnants of their city was 

still left behind as an authentic representation of their fleeting 

move. Lastly, the tribe and the layout of the city was done in 

such a way to benefit the tribe and its people. Therefore, the 

design revolved around the Koranna inhabiting the space. It 

also served as a way in which the Koranna could adopt and 

interact with one another within a chosen space of a place.  

Contextual Understanding: 

The intervention adopts the five key aspects derived from 

Pallasmaa but reimagines them in a ‘Koranna’ way. Firstly, 

drawing from the first facete: sensory and time, the 

intervention makes use of various textural layering and play of 

light. Like the Koranna a series of weaved mats are utilized in 

the construction of the roofs, acting as an insulated skin, much 

like the animals’ skins used in the historic huts.  These skins also 

allow for an interesting play of light to take place within the 

structure. In the second facete: memory and design, the 

intervention aims to evoke a connotation to the Koranna tribe. 

Here memory of their architecture is used to draw a 

connection or association towards the tribe and their way of 

life, through inhabiting a space. The intervention aims to do 

this, through constructing structures as a Koranna hut, with a 

stereotomic base topped with a tectonic structure in tension. 

The research pods provide a clear association to this 

technique as a solid stone base supports a steel tectonic 

structure kept in place through cables in tension. In the third 

facete: materiality and aging in architecture, the intervention 

makes use of specific materials such as, sandstone, timber, 

corten steel, reeds, and textile panels, which tend to weather 

and age with the passing of time. This is done only to 

contribute to the design and not to compromise the 

aesthetics, but also to form a new aesthetic as the building 

evolves. In the fourth facete: timelessness and authenticity in 

architecture the intervention makes use of the authentic 

fleeting relocation of the Koranna. Although the intervention 

was created as a permanent structure, unforeseen 

circumstances may occur, that will allow the building to leave 

traces such as the stone walls and the supporting stereotomic 

bases. In the fifth and last facete: human-centred design in 

architecture, the intervention allows the dweller entering the 

structure to adopt and interact with certain spaces in a 

multitude of ways as needed or suited at the time.  



 76 

 

 



 77 

 

 

4.3.3 Evoking Lived Experience Through Built Form  

In the book The Embodied Image’ Pallasmaa argues that architecture should never be 

detached from its context or culture. Structures or buildings have a certain aspect that allows us 

to recall a certain awareness of the past and the future, this is done however through the 

present (Pallasmaa, 2011: 125). This consciousness arises from a bodily experience encountered 

in a particular space or location; it is described as "...a vivid unconscious identification, 

resonance, and correspondence..." Pallasmaa (2011), p. 125. This bodily experience facilitates a 

dialogue between memories and a particular location. Suddenly, a connotation is established, 

one that is embodied in physical form. The building becomes a part of the occupant and the 

occupant becomes a part of the building, thereby facilitating a memory of the location. 

For architecture to take on its role of shelter as intended; the act of inhabiting is required. “I 

place myself within a space and the space settles in me” (Pallasmaa, 2011:125). The Koranna 

tribe actively engaged with built form moulded as huts. Through this engagement they not only 

inhabited their structures, but they as well as their structures, inhabited the place. For the certain 

time frame allocated the Koranna and their city settled in the place and the place settled in 

them. They started to form part of the region, not only inhabiting it, but embodying it.  

Contextual Understanding: 

The intervention aims to act as an embodiment of not only the place, but also the Koranna 

tribe. It fosters an experience that allows a dweller to become part of the space within the 

place. This becoming part allows the dweller to inhabit the structures found on site as well as 

embody the region and the historical aspects of the Koranna. The elevated walkway offers an 

opportunity for the dweller to become part of the space by altering the shading devices to their 

desired positions. On site a second elevated walkway running through the centralized kraal 

allows the dweller to directly embody the historical home of the Koranna. The intervention offers 

moments of embodiment through inhabitants inhabiting the spaces on site.  

Figure 59:  Evoking Lived Experience Through Built Form ( Author)  



 78 

 

 

Figure 59:  Evoking Lived Experience Through Built Form ( Author)   



 79 

 

 

4.4 Morphology and Regionalism: Tracing Identity  

The interaction of regionalism and morphology in the captivating world of 

architecture provides a rich lens through which to examine the core of identity. This 

subsection sets out on a transformative journey to uncover the essential relationship 

between form and place by weaving together a tapestry of cultural heritage, 

historical context, and environmental influence. The intersection of morphology and 

regionalism reveals the intricate threads that bind together the distinctive character 

of communities and their profound architectural narratives as structures harmoniously 

blend with their surroundings. By delving into the depths of design, history, and 

culture, this exploration aims to reveal the profound influence of context on the art of 

construction and mold the spirit of human existence within the built environment. It 

tells the captivating tale of how architecture becomes a mirror of identity. The 

Koranna kraals were constructed with a solid stacked stone base (sterotomic), and in 

order to protect their cattle from predators, they added sticks to enhance the kraals 

height. This idea can be realised by using thick sterotomic walls as the building's 

grounding factor and then tectonic structures as the roofing.  



 80 

 

 



 81 

 

 

4.4.1Layering Traditional Design Principles  

The English writer Keith Eggener from Portland explored 

concepts regarding the theme of critical regionalism as 

marginalised architecture.  He argues that critical regionalism 

should be seen as an ongoing process rather than an end 

product. This process is conducted or imposed from an outside 

voice usually in a position of authority (Eggener, 2002: 228). 

Critical regionalism is a tricky concept, before starting to utilise 

the theme in a design, one should ask a few necessary 

questions. The ‘sense of place' is what makes up critical 

regionalism, however, how this sense of place is generated and 

translated into a building is an important factor to consider and 

continuously reconsider. Is this sense of place generated by 

local conditions and concerns or does it tumble into the pitfall of 

nostalgia and misconception (Eggener, 2002: 234). 

Nostalgia does not relate to critical regionalism; the sense of 

place heavily relies on the people of the place. The 

construction methods employed by local craftsman is a valid 

point to consider, this will allow clues as to the real environment 

and the culture of a specific region. When aiming at designing 

a space for the Koranna tribe in the Koranna mountain region, 

critical regionalism has a big part to play. Studying their 

construction methods and way of life can give a much clearer 

identification of the sense of place and what type of language 

the building should speak. However, these traditional 

construction methods should not be a direct copy of the 

structures built. These construction methods used by the 

Koranna will equip the design with necessary clues as to how to 

approach the design with a new lens of interpretation by 

adapting the known methods in a critical way that is confined 

to the specific region and its inhabitants.  

 

 



 82 

 

 

Figure 59:  Layering Traditional Design Principles ( Author)   



 83 

 

 

4.4.2Building as Translator     

The Greek architect and writer Alexander Tzonis and the 

Canadian writer Liane Lefaivre  wrote the book Why critical 

regionalism today? They argue that critical regionalism can be 

seen as a direct response towards contemporary global 

developments. It means to challenge not only the world but 

also the various underlying views that accompany it (Lefaivre; 

Tzonis, 1990: 483). Critical regionalism can be seen as a tool or a 

device to facilitate a dialogue between the built form and the 

viewer or dweller. An architect creates this dialogue by 

decomposing, recomposing or identifying certain elements in 

order to de-familiarise them (Lefaivre; Tzonis, 1990: 483). No 

structure or building can talk to the viewer, structures talk 

through the aid of a translator (Lefaivre; Tzonis, 1990: 484). For 

the design to aid in the transfer of the Korannas history and 

culture the building needs to act as a translator towards the 

viewer or dweller, creating a dialogue that bridges the gap 

between the historic region and the new intervention. This 

translation will act as a translative lens through which the 

building will communicate the essence of the place and the 

people to the oblivious visitor. 

 

 



 84 

 

 

Figure 60:  Building as Translator    ( Author)   



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Location  

Nouméa, New Caledonia 

Square meterage   

8550 m²  

1
9

9
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The Tjibaou Cultural Centre, located in Nouméa, New Caledonia, is an iconic 

architectural masterpiece that pays homage to the Kanak people, the indige-

nous inhabitants of the region. Designed by renowned architect Renzo Piano, 

this cultural centre serves as a symbol of cultural preservation, education, and 

reconciliation (TSIRANGELOS, n.d.). This precedent study delves into the archi-

tectural and cultural significance of the Tjibaou Cultural Centre. 

Architect 

Renzo Piano  

Program   

Cultural Centre  

Materials used  

Locally sourced wood,  

 

Climate  

tropical climate with warm 

temperatures year-round, 

different to that of the Free 

Sta te cl imate be ing 

4.4.3 Precedent Study 1  



 86 

 

 

Architectural Significance: 

Innovative Design: The Tjibaou Cultural Center is celebrated for its unique and inno-

vative design. It comprises ten conical structures inspired by traditional Kanak huts, 

known as ‘cases’, which are made of timber, bamboo, and steel. These cases blend 

harmoniously with the surrounding landscape and evoke a sense of Kanak culture. 

Sustainable Design: Renzo Piano incorporated sustainable design principles into the 

centre’s construction. The use of locally sourced materials and the consideration of 

environmental factors, such as natural ventilation and shading, demonstrate a com-

mitment to ecological responsibility. 

Cultural Representation: Each of the ten cases houses exhibitions and installa-

tions that celebrate Kanak culture, from art and history to traditional practic-

es. The architecture itself becomes a representation of cultural identity, cre-

ating a powerful and immersive experience for visitors. 

Climate  

tropical climate with warm temperatures year-round, different to that of the Free State cli-

mate being characterized by cold winters and hot summers  

 

Cultural Significance: 

Kanak Identity: The Tjibaou Cultural Centre is dedicated to preserving and promot-

ing Kanak culture, which is vital in the face of globalisation and cultural homogeni-

sation. It serves as a symbol of Kanak pride and identity, reinforcing the importance 

of preserving indigenous heritage. 

Reconciliation: The construction of the centre was also a significant step toward rec-

onciliation between the Kanak people and the French government. The centre rep-

resents a shared commitment to understanding and respecting Kanak culture, fos-

tering a sense of unity among diverse communities. 

Key takeaways   

The Tjibaou Cultural Centre stands as a testament to the power of architecture in 

preserving and celebrating indigenous cultures. This building becomes one of the 

inspirations into what architecture can achieve. Through its dedication to sustaina-

bility, cultural representation, and reconciliation, it serves as a beacon of hope for 

preserving the unique identities of indigenous communities in an ever-changing 

world.  

Figure 61,62,63:  Building as Translator Jean-Marie Tjibaou 

Cultural Centre (archdaily,2011:online) 



 87 

 

 

Location  

Yzerfontein, South Africa  

Square meterage   

265 m²  

2
0

1
9

Architect 

KLG architects  

Program   

Cultural and education  

centre 

Materials used  

Timber, concrete , steel 

and glass.  

 

Climate  

Climate is more or less the 

same as that of the Free 

Sta te cl imate be ing 

characterized by cold wet 

4.4.3 Precedent Study 2 !K
H

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 TTU
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The !KHWA TTU San Heritage Centre is located in Yzerfountein, South Africa is 

a San Cultural centre which also act as educational space designed by 

KLG  Architects. This Heritage Centre, nestled in the picturesque landscape 

of the Western Cape, South Africa, is not just a cultural haven but also an 

architectural gem. This precedent study delves into the architectural 

aspects, historical context, challenges, and achievements of the !KHWA TTU 

San Heritage Centre, underlining its unique fusion of architecture and 

cultural preservation. 



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Architectural Significance: 

Vernacular Design: The architectural design of the !KHWA TTU San Heritage Centre 

draws inspiration from San vernacular architecture. It harmoniously blends traditional 

San building techniques with modern sustainability principles, showcasing a symbiotic 

relationship between cultural preservation and architectural innovation. 

Sustainable Architecture: The centre’s structures prioritise sustainable design elements, 

such as passive solar strategies, rainwater harvesting, and natural ventilation, aligning 

with the San people's historical connection to their environment. 

Cultural Significance: 

Cultural Heritage in Built Form: The architectural elements of the centre are imbued 

with cultural significance, incorporating traditional motifs, materials, and layouts that 

pay homage to the San people's heritage. 

Reimagining Tradition: Architects and designers involved in the project took great care 

to reinterpret traditional San structures, ensuring they are both functional for contempo-

rary needs and reflective of cultural authenticity. 

 

Key takeaways   

The !KHWA TTU San Heritage Centre successfully interprets and adapts traditional San 

architecture, preserving the essence of the culture within a modern context. The cen-

tre’s commitment to sustainable architecture has led to energy-efficient buildings that 

minimise their ecological footprint while blending seamlessly with the natural surround-

ings. Finally, features like communal gathering spaces and performance areas encour-

age cultural exchanges, fostering a deeper understanding of San traditions. Further-

more, drawing from the design, The challenge lies in balancing the preservation of tra-

ditional architectural elements with the practical requirements of a modern cultural 

centre. Maintaining traditional building materials and techniques can be challenging in 

the face of modern construction norms. And lastly, ensuring the sustainability of the ar-

chitectural features while safeguarding the environment presents ongoing challenges. 

Conclusion 

The !KHWA TTU San Heritage Centre is a testament to the successful fusion of architec-

tural innovation and cultural preservation. Its design not only honours the San people's 

heritage but also showcases the potential of architecture to bridge the gap between 

tradition and modernity. This unique architectural approach, harmonising vernacular 

design with sustainability, sets a remarkable precedent for future projects seeking to 

preserve and celebrate cultural heritage while embracing environmentally conscious 

architecture. Figure 64,65:  KHWA TTU San Heritage Centre (archdaily,2020:online) 



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Location  

Hankey , South Africa  

Square meterage   

NDA m²  

Historical Context: 

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Architect 

Wilkinson Architects  

Program   

Cultural and education  

centre 

Materials used  

Masonry bricks, concrete , 

steel and glass.  

 

Climate  

The Climate is mostly 

the same as that of 

the Free State  

4.4.3 Precedent Study 3 Th
e

 S
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 B
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a
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The Sarah Baartman Centre of Remembrance designed by Wilkinson Architects is 

still under construction and is set to become an iconic architectural landmark 

situated on a site in close proximity to Sarah Baartmans grave in the Eastern Cape 

of South Africa. This cultural institution pays homage to Sarah Baartman, a 

woman who became a symbol of colonial exploitation and objectification during 

the 19th century. The purpose of this architectural precedent study is to delve into 

the design, significance, and cultural relevance of the Sarah Baartman Centre of 

Remembrance. 

C
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n
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 o
f R

e
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b
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Sarah Baartman, often referred to as the "Hottentot Venus," was a Khoi San woman from South 

Africa who was exhibited in Europe during the early 19th century due to her distinctive physical 

features. Her story represents the dehumanising effects of colonialism, racism, and objectifica-

tion. The Sarah Baartman Centre of Remembrance will stand as a tribute to her and all those who 

have suffered similar injustices. 

Architectural Significance: 

Location and Setting: The centre is strategically located in the Gamtoos Valley near Baartman's 

hometown of Hankey and her final resting place, providing a contextual link to her life and story. 

The serene landscape and lush surroundings create a reflective atmosphere. 

Form and Symbolism: The architecture of the centre is characterised by a blend of modern de-

sign and cultural symbolism. The main building is shaped like a curvaceous silhouette, symbolising 

Sarah Baartman's body and the objectification she endured. This curvilinear form also pays hom-

age to the traditional dwellings of the Khoi San people. 

Materials: Local, sustainable materials, including sandstone and thatch, are used in the construc-

tion to connect with the region's natural elements and heritage. 

Interior Spaces: The interior spaces are designed to facilitate reflection, education, and cultural 

expression. The museum within the centre will showcase the history of colonial exploitation, the 

life of Sarah Baartman, and the broader context of the Khoi San people. 

Cultural Significance: 

The Sarah Baartman Centre of Remembrance will serve multiple cultural purposes. 

Education: It will provide a platform for education about the historical atrocities of colonialism, 

racism, and sexism, using the story of Sarah Baartman as a lens to understand these larger issues. 

Healing and Remembrance: The centre will offer a space for healing and remembrance for 

those affected by the legacy of colonialism and exploitation, particularly for the Khoi San com-

munity. 

Cultural Preservation: It aims to actively engage in preserving the heritage of the Khoi San people 

and ensuring that their culture is celebrated and respected. 

Awareness and Advocacy: The centre will also raise awareness about ongoing issues related to 

racism and discrimination and advocates for social justice. 

Key takeaways   

The design of the Sarah B