BETWEEN VILLE AND CITÉ
A LAYERED MIXED-USE CREATIVE COMMONS IN WOODSTOCK, CAPE TOWN

BERNARD MAREE 
2018289476

M.ARCH(PROF)





This dissertation is in partial fulfilment of the requirements for the MArch.(Prof) degree.
University of the Free State

Department of Architecture
Bernard Maree – 2018289476 – bmaree12@gmail.com

Date submitted: 13 October 2023

Supervisors:
Mrs M. Bitzer
Prof J.D. Smit

Mrs P. Smit
Prof G. Bosman

Declaration:
I know that plagiarism is wrong. Plagiarism is creating the impression that someone else’s work is my own.

Every contribution and quote from other sources in this essay has been acknowledged and there is a
reference and a source. This essay is my own work. I have not copied it, nor will I allow anyone to copy it.

Proofread by:
Ernene Verster



1

PREAMBLE

The site analysis was kick-started while staying in the Woodstock Exchange (WEX 1), one of the 
fairly new multi-functional residential building types, earmarked to regenerate suburbs with this 
particular character. Seven successive days were spent in the heart of Woodstock to study the 

surroundings and particular site to determine whether the afore-mentioned proposal  would 
be relevant. It became apparent that due to a lack of nightlife in the area, people had to 

go to the Cape Town central business district (CBD) or the Victoria and Alfred Waterfront for 
entertainment. This results in Woodstock being rather quiet from sunset to sunrise, which was 

apparent when observing the pedestrian and vehicular traffic from my apartment’s window.



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ABSTRACT

 Urban users can be disconnected from space if place is disconnected from the urban 
landscape. The main research question considered is how can an investigation of the layers 
that constitute the urban palimpsest, through adaptive reuse inform a neo-industrial sensory 
and spatial experience between the ’Ville’ and the ‘Cité’, to preserve history and enhance 
identity in lower Woodstock, Cape Town? Other designers have attempted to address the 

problem of reusing previous industrial areas and buildings yet struggle with accommodating 
current users of the site and context. The proposed design focuses on finding the place 

between the larger urban landscape, ’Ville’, and a specific place in the urban landscape, 
‘Cité’, through the means of investigating the urban palimpsest. Investigating precedent 

buildings with a focus on creative community engagement informs the composition of newly 
proposed structures between existing buildings. The proposal’s aim is to merge commercial 

economic success with aspects of community engagement to mitigate negative effects that 
urban renewal may bring, such as gentrification. The proposal aids designers to approach 

projects of an urban nature to create space of community and commerce as the between of 
’Ville’ and ‘Cité’.

Key Words: Urban, industrial, creative, heritage, Ville and Cité



Table of Contents
 Preamble      1
 Abstract      2
1. Introduction      5
 1.1. Introduction      7 
 1.2. Research Question     8
 1.3. Brief       9
 1.4. Clients       10
  1.4.1. City of Cape Town
  1.4.2. BLOK
  1.4.3. ZEITZ MOCAA in Partnership with Local   
   Galleries
 1.5. Problem statement     11
 1.6. Aim       11
 1.7. Program      12

2. Site        13
 2.1. Introduction      15
 2.2. History       16
  2.2.1. History of Woodstock
  2.2.2. Heritage guidelines City of Cape Town
  2.2.3. Further heritage considerations
 2.3. Macro analysis     24
 2.4. Meso analysis       25
 2.5. Micro analysis      26
 2.6. Mapping      27
 2.7. Conclusion      33

3. Theory in exchange for...   35
 3.1. Introduction      37
 3.2. The Social Exchange of Information   38
 3.3. Theoretical development    40
  3.3.1. Fragment Layering
  3.3.2. Composed Vertigo
  3.3.3. Industrial Re-Rationalization
 3.4. Post-industrialism vs Neo-industrialism  46
  3.4.1. Post-Industrialism
  3.4.2. Neo-Industrialism
 3.5. Conclusion      48 

4. Precedent and case studies  49
 4.1. Victoria Yards [Daffonchio Architects]  51
 4.2. Battery Park [DHK Architects]   55

5. Design syntheses    59
 5.1. Introduction      61
 5.2. Design Guidelines     63
 5.3. Accommodation List    64 
 5.4. Design Process     65
 5.5. Final Design      93
 

 



6. Detailing social exchange  125
 6.1. Introduction      127
 6.2. Cons Touch Stone     128
 6.3. Precedent studies     129
  6.3.1. 242 State Street [Olsen Kundig]
  6.3.2. Viewing Tower Hoge Bergse Bos    
  [Ateliereen Architecten]
 6.4. Regulations      133
  6.4.1. Zoning
  6.4.2. Area calculations
  6.4.3. Parking
 6.5. Structural Systems     135
  6.5.1. Substructure [Pile foundations + ground   
  beams]
  6.5.2. Superstructure [Connections to and    
  between IPE sections]
 6.6. Materiality and Site Systems   137
  6.6.1. Old vs New
  6.6.2. Reuse and recycling of masonry elements
  6.6.3. Drainage Systems
 6.7. Conclusion      142

7. Conclusion     143
8.	 Reflection	 	 	 	 	 144
9. Reference list    145
10. LIST OF FIGURES    149
11.  Posters for Final Presentation 153



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1. INTRODUCTION
 1.1. Introduction
 1.2. Research Question
 1.3. Brief
 1.4. Clients
  1.4.1. City of Cape Town
  1.4.2. BLOK
  1.4.3. ZEITZ MOCAA in Partnership with Local  
   Galleries
 1.5. Problem statement
 1.6. Aim
 1.7. Program



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This design investigation, on the one hand, has a foothold in the 
process of how an industrial area transforms in the 21st century 
during the information age; and on the other hand, how urban 
design impacts the micro-, meso- and macro-urban landscape, as 
well as how it impacts the experience of urbanites. The programme 
and accommodation list are generated by observing movement 
and activities on and around the site. 

The site, Baltic Timber Co., accommodates a timber yard in 
Woodstock, a suburb with an industrial history, that is part of 
the greater Cape Town, a South African city. Gentrification is a 
complex urban phenomenon with profound socio-economic and 
spatial implications (Merriam-Webster, 2011: online). It involves the 
influx of more affluent individuals and businesses into neglected or 
economically disadvantaged neighbourhoods, often displacing 
long-standing, lower-income residents and reshaping the 
neighbourhood’s character. This process is both a product of urban 
revitalization and a driver of inequality, leading to debates about 
its impact on housing affordability, cultural identity, and community 
dynamics. An article in The Guardian  (Joseph, 2014: online)  on this 
issue after interviewing store owners in Woodstock who inquired 
about renting a space at the Biscuit Mill, but who never received a 
response.

After spending a week in the heart of Woodstock, it became 
clear that, despite a rich culture of retail, manufacturing, and light 
industrial activity during the day, the neighbourhood lacks any 
night-life, especially in lower Woodstock, which has yet more of an 
industrial character. 

The study is underpinned by how industrial architecture could inspire 
the social exchange of information and how the historic layering of 
Woodstock influences and develops the social spaces relevant to 
the site. 

In his book, Building and dwelling: ethics for the city (2018), Richard 
Sennett describes a more urban architectural approach, namely 

‘Ville’ as the urban or built environment, and ‘Cité’ as a way of life or 
a specific place in the urban environment.
(Sennett, 2018: 2). 

This two-part system was used to investigate the site, Baltic Timber 
Co., to identify its character. Sennett discusses how both Jane 
Jacobs and Lewis Mumford are concerned with the balance 
between lived and built spaces in cities (2018: 78-80). Sennett states 
that Jacobs advocates for more informal relations within cities, 
which he describes as slow time (2018: 80). Slow-time is the general 
development of urban spaces with small investments of the city into 
the community (Sennett, 2018: 80). This breaks away from large scale 
master planning of urban space and creates a phase-by-phase 
improvement of an urban space. According to Sennett (2018:83), 
Mumford strays away from Jacobs’ point of view, aiming for a 
more formal form of urban planning than that of Jacobs. Sennett 
(2018: 83) states that Mumford views Jacobs’ ideas as insufficient to 
combat large developers and construction companies. The balance 
between Jacobs’ free, and Mumford’s strict urban planning  is as 
important as the balance between lived and built spaces. 

This theory guides the design’s outcome, which strives to bridge the 
differences found in the ‘Ville’ and the ‘Cité’ approaches. Applying 
this approach to the local context, encourages the importance of 
active local involvement through art initiatives and job creation in 
the building solution. 

Investigating post- and neo-industrialisation to determine what could 
happen to industrial buildings currently, the ensemble of buildings 
of the ‘Cité’ creates a space where chance encounters happen in 
slow time, encourages the social exchange of information between 
urbanites, and creates a different urban experience in the ‘Ville’. 
Architectural relevance unfolds by studying the urban palimpsest 
and layers of the past. The urban scheme develops through applying 
narratives to further understand the relationships between different 
urbanites of Woodstock [‘Ville’].

1.1. INTRODUCTION



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1.2. RESEARCH QUESTION

How can an investigation of the urban palimpsest, using an adaptive reuse 
approach, to inform a neo-industrial architectural intervention in the transition zones 
of lower Woodstock, Cape Town, to optimize the sensory and spatial experience of 
urbanites when navigating between the ‘Ville’ and the ‘Cité,’ and enhancing the 

urban identity? 

The main question considered for this proposal is:



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1.4. CLIENTS1.3. BRIEF
The objective of the project, guided by the aim of finding a balance 
between the qualities of the ‘Ville’ and the ‘Cité’ (fig 2), is to manifest 
the spatial characteristics of the street into the collection of buildings 
found on the site, thereby exploring the possibilities of how social 
exchange happens in an informal urban context through street art 
or galleries in a manner that enhances the experience between 
urbanites. 

The narratives of urbanites and the urban palimpsest underpin the 
design guidelines and urban strategies, while a post- and neo-
industrial architectural language feeds the design outcome. The 
product is a neo-industrial urbanism, which is the built space. The lived 
experience of the scheme is the social exchange of information.

The City of Cape Town, BLOK (urban developer), and Zeitz Museum 
of Contemporary Art Africa (Zeitz MOCAA) all aim to improve the 
conditions for living and working in Cape Town . Although the clients’ 
standing will have separate roles throughout the programme, it will 
nevertheless balance and complement each other’s vision and 
mission.

1.4.1. City of Cape Town

The City of Cape Town is a notable example of urban development 
in South Africa over the past decade, having initialised the Silo 
District, as well as general maintenance and upkeep of infrastructure 
in the city, and surpassing standards of all other major South African 
cities (The Economist, 2023:online). The city development strategy 
specifically addresses Cape Town’s place in the Western Cape and 
South Africa over the next 30 years (CoCT, 2023: online). This is a 
powerful tool for planning what Cape Town will look like in the future. 
The six goals that underpin this strategy include:

- Leading a healthy and vibrant life;
- Being educated and informed;
- Being an inclusive and resilient economy;
- Being connected and interconnected;
- Building and celebrating Cape Town spirit; and
- Inspiring an eco-friendly city region
(City of Cape Town, n.d.: online)

Figure 2: Brief development sketch explores the between of ‘Ville’ and 
the ‘Cité’ (Author, 2023)

Figure 3: City of Cape Town (CoCT, 2023: online)



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1.4.2. BLOK

BLOK is an urban developer in Cape Town focused on housing and 
mixed-use spaces. Having completed a multitude of buildings in 
Sea Point and Green Point, BLOK is well established in Cape Town. 
Their belief that clever design will change lives, is a testament to their 
mission as a company. BLOK’s vision is the following:
- To foster connectedness between spaces and communities  
 in urban living
- To create a seamless blend of form and function through  
 good design
- To draw inspiration from art, nature, and fashion in all   
 aspects of the Blok experience
- To apply learning and expertise to every facet of the brand,  
 spaces, and buildings
- To strive to create practical and beautiful design
- To redefine urban living by offering an opportunity to   
 rediscover it
(BLOK, n.d.: online)

1.4.3. Zeitz MOCAA in Partnership with Local Galleries

The Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) is 
a public, non-profit institution that exhibits, collects, preserves, 
and researches contemporary art from Africa and its diaspora. It 
conceives and hosts international exhibitions; develops supporting 
educational, discursive and enrichment programmes; encourages 
intercultural understanding; and strives for access for all (Zeitz, 2023: 
online). In partnership with local galleries such as the SMAC gallery, 
Stevenson gallery, etc., it fosters community engagement and 
provides capital to create a formal and informal art scene.

Figure 4: BLOK Developers (BLOK, n.d.: online) Figure 5: ZEITZ Museum of Contemporary African Art (Zeitz, 2023: online)



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1.5. PROBLEM STATEMENT 1.6. AIM
What happens when industrial buildings fall out of use? Architectural 
solutions include adaptive reuse of spaces that has fallen into disuse 
after the 4th Industrial Revolution changed the way people work 
and live (Fig 6). A post-/neo-industrial design approach connects 
the ‘Ville’ and the ‘Cité’ to relink places with urban spaces. By 
using investigations into the urban palimpsest and the narratives of 
urbanites the proposed project brings balance between the ‘Ville’ 
and the ‘Cité’. The importance of the industrial context of the site 
aids in the design outcomes.

The design aims to connect the ensemble of buildings [‘Cité’] 
not only to one another but to Woodstock [‘Ville’], ultimately 
linking Woodstock [‘Cité’] with the larger city [‘Ville’]. The different 
buildings are intertwined  by means of urban gardens and walkways 
throughout the scheme. This creates spaces of greenery in a 
previously industrial site (Fig 7).

Figure 7: Aim of project (Author, 2023)Figure 6: Problem statement (Author, 2023)



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1.7. PROGRAM
The programme of the proposed design helps to understand the aim of the project and what it tries to achieve. The focus is Phase 1, which will 
carry the essence of the project: the social exchange of information, and the artists’ district. The other phases comprise the fabrication district and 
the housing district, but will not be addressed in this specific proposal.

Figure 8: Phase timeline of buildings (Author, 2023)



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2. SITE
 2.1. Introduction
 2.2. History
  2.2.1. History of Woodstock
  2.2.2. Heritage guidelines City of Cape Town
  2.2.3. Further heritage considerations
 2.3. Macro analysis
 2.4. Meso analysis 
 2.5. Micro analysis
 2.6. Mapping
 2.7. Conclusion



15

2.1. INTRODUCTION
The site is in Woodstock, Cape Town, a neighbourhood with a rich 
contemporary art scene, ‘hipster’ culture (The Common Wanderer, 
2017: online), and a multitude of developing business initiatives 
aimed at the regeneration of the suburb, such as the Biscuit Mill, 
Woodstock Exchange [WEX1] development, Woodstock Brewery, 
as well as brand-new office buildings such as Strauss Auctions. Even 
though these developments are assets to Woodstock, there are 
short-comings regarding affordable housing and work opportunities 
for people who live in the residential areas of Woodstock. This is due 
to restructuring and the formation of a neo-industrial economic 
landscape, which results in lower skilled labour migrating to other 
parts of the city and the Western Province. Woodstock currently 
lacks the vertical economic density of the inner city of Cape 
Town (Fig. 11 and Fig. 12), which, after an economically successful 
rejuvenation campaign and an urban renaissance, has not been 
seen elsewhere in South Africa’s central business districts [CBDs]. 
Woodstock, having been demarcated as an urban development 
zone, might economically benefit from a rejuvenation programme 
(CoCT, 2023: online). The building scheme aims to focus on the 
social development of the surrounding area and not purely on 
economics. The site (Fig. 10) is currently used as a timber yard with 
mostly warehouse space and a few workshops, a hardware store, 
and administrative offices for selling timber and managing the yard.

Figure 10: : Existing Baltic Timber Yards layout (Author, 2023)

Figure 11: Woodstock vertical density (Google Maps, 2023:online)

Figure 12: Cape Town CBD vertical density (Google Maps, 2023: online) 



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2.2. HISTORY
2.2.1. HISTORY OF WOODSTOCK
Woodstock is a place with a rich history, famous for its cultural 
diversity, with different races and religions living side by side. 
Woodstock has undergone multiple changes throughout the years, 
i.e. reclaiming the shoreline and gentrification. It is important to 
understand the timeline (Fig. 13) of events in Woodstock and Cape 
Town to grasp how and why Woodstock developed into the urban 
space it is today.          

Figure 13: Timeline of events effecting Woodstock (Author, 2023)



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Figure 14: Series of Aerial photograph (CoCT, 2023:online) adapted by 
Author



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Figure 15: Lewis Store on Victoria Road Circa 1960 (n.a., n.d.: online)

Figure 17: Woodstock Beach (Fell, 2019: online)

Figure 16: Albert Road Circa 1898 (Author, 2023) 

Figure 18: Woodstock Beach (Fell, 2019: online)



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 - Originally the Khoikhoi inhabited the area prior to 1652 (Fell,  
2019: online).

 - The Dutch colonialisation of the Cape started [1652].
 - Slavery started in the Cape Colony in 1658 (Fell, 2019: online).
 - Zonnebloem, Leliebloem and Roodebloem, originally called 

Papendorp after Pieter van Papendorp, settled in the area 
and French settlers formed a settlement around Papendorp’s 
homestead during the mid-1700s (Davies Property Group, 2023: 
online).

 - Dutch rule ends after the British fought for control of the Cape 
Colony and removes the Dutch East-India Company [1792].

 - Papendorp is renamed New Brighton.
 - Slavery ends in South Africa in 1834 after 176 years (Fell, 2019: 

online).
 - After the British occupation of the Cape Colony ended the 

municipality of New Brighton met in the Woodstock Hotel 
to discuss the renaming of New Brighton. The suggestion 
of renaming New Brighton to Woodstock came from local 
fishermen present at the meeting; this was to honour their 
favourite watering hole. The fishermen outnumbered the rest 
of the meeting attendants and New Brighton was renamed 
Woodstock in 1867 (Fell, 2019: online).

 - Development of railways [1862] in Woodstock came with the 
Boer wars and created massive industrial growth in Woodstock 
resulting in socio-economic change [1903] (Davies Property 
Group, 2023.: online).

 - Baltic Timber Co. Established in 1928.
 - Woodstock beach destroyed as the harbour is built during the 

1950s.
 - The Union of South Africa came into existence in 1910, and 

became the current Republic of South Africa in 1961.
 - Woodstock becomes a ‘grey’ area and during the 1970s 

and 1980s people of different races start settling here (Davies 
Property Group,2023: online).

 - Nelson Mandela is released in 1990. The first democratic 
election takes place in 1994.

 - Woodstock is declared an urban development zone in 2007 
and gentrification starts to take place, displacing long time 
inhabitants of Woodstock (Joseph, 2014: online)

The history of Woodstock is a testament to the resilience and 
adaptability of its inhabitants through various historical periods. It is 
essential to recognize and understand this timeline to grasp how and 
why Woodstock had developed into the urban space it is today. The 
area’s rich cultural heritage and diverse past serve as reminders of 
the importance of preserving history while navigating the challenges 
and opportunities presented by urban development and societal 
change. As Woodstock continues to evolve, it is crucial to find a 
balance that respects its heritage whilst promoting inclusive growth 
and community development.

Figure 19: Woodstock Beach Circa 1935 (n.a., n.d.: online)



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The heritage considerations are not only contextually important but 
continue the narrative of objects or buildings found on and around 
the site. The City of Cape Town describes heritage as people’s 
legacy from the past that needs to be valued today to conserve 
it for future generations, resulting in cultural identity (CoCT 2020: 4). 
Heritage resources can be a place, space, or an object with cultural 
significance (CoCT, 2020: 8). These resources are to be protected by 
current communities to benefit future generations. These resources 
include a multitude of culturally significant places, spaces, and 
objects, namely

 - Places, buildings, structures, and equipment of cultural   
significance

 - Places that are associated with oral traditions or living heritage
 - Historic settlements and/or townscape.
 - Landscapes and natural features of cultural significance.
 - Geological sites of scientific or cultural importance.
 - Archaeological and palaeontological sites.
 - Graves and burial grounds.
 - Sites of significance relating to the history of slavery.
 - (CoCT, 2020: 8)

The National Heritage Resource Act (NHRA) 25 of 1999, is used by 
local authorities as a guideline to create context-specific heritage 
guidelines to protect heritage resources. These guidelines include a 
heritage grading system to differentiate the importance of specific 
heritage grades. There are three heritage grades, namely heritage 
grade I, grade II, and grade III. 

 - Grade I heritage comprise resources that are so exceptional 
that they are considered national heritage and have national 
significance. The South African Heritage Resource Agency 
manages these resources (CoCT, 2020: 11).

 - Grade II heritage resources have special qualities that are 
significant in a province or in a region. These resources are 
identified and managed by provincial heritage resource 
authorities (PHRAs). In the Western Cape, the PHRA is Heritage 

Western Cape (HWC). Most previously declared national 
monuments under the National Monuments Act 28 of 1969 
have been re-designated to provincial heritage sites under 
current legislation (CoCT, 2020: 1).

The grade III resources carry different significance per sub-category. 
These differences are:

Grade III heritage resources are categorised as ‘all other heritage 
resources worthy of conservation’. A local authority such as the City 
of Cape Town is responsible for identifying and managing these 
resources. This grade of heritage is sub-divided into three more 
categories namely Grade III A, Grade III B and Grade III C to further 
assist with the management of heritage resources (CoCT, 2020: 11).
The grade III resources carry different significance per sub-category. 
These differences are:

 - Grade III A: Heritage resources that are of high intrinsic 
significance, are outstanding examples or representations of a 
typology, and may demonstrate a high degree of intactness. 
These resources have regional significance. Principally they are 
to be conserved. Remedial action to enhance their significance 
can be taken with minimal intervention (CoCT, 2020: 26). 

 - Grade III B: Heritage resources that are of considerable 
intrinsic significance, are good examples or representations 
of a typology characteristic of the immediate area and may 
demonstrate a high degree of intactness. These resources have 
significance in their neighbourhood or suburb. Principally these 
resources are to be conserved and remedial action taken to 
enhance significance and retain the historic fabric (CoCT, 
2020: 26). 

 - Grade III C: Heritage resources that are of intrinsic significance, 
are examples or representations of a typology characteristic of 
the immediate area but may be altered. These resources have 
significance in the streetscape. Principally these resources 
are to be conserved to enhance their overall value to the 
streetscape and their historic fabric retained (exterior) (CoCT, 
2020: 26).

2.2.2. Heritage Guidelines of the City of Cape Town



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These aim to conserve specifics of site and context to preserve their 
current significance and to protect cultural importance of places, 
spaces, and objects. The heritage context refers to any environment 
with distinctive attributes and qualities, including both socio-cultural 
and physical characteristics and setting of the design guidelines 
for a building scheme that it strives towards. Designing a way of 
life (‘Cité’) with this as a guideline can help to preserve the historic 
fabric of the urban and built environment (‘Ville’) and preserve the 
character of place to further strengthen the bond between the 
‘Ville’ and the ‘Cité’.

Figure 20: Castle of Good Hope, 
grade I (Cape Fusion Tours, 2017: 
online)

Figure 22: Old Castle Brewery, 
grade III A (Author, 2023)

Figure 24: Woodstock Exchange, 
grade III C (Capeetc, 2022: 
online)

Figure 21: NG Kerk 
Drieankerbaai, grade II 
(Gemeentegeskiedenisargief, 
n.d.: online)

Figure 23: Baltic Timber Yards 
admin building, grade III B 
(Author, 2023)

Figure 25: Baltic Timber hardware 
store, not conservation 
worthy(Author, 2023)



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Site specific heritage considerations include the façade of the 
building currently being used for business administration and offices. 
The façade comprises three decorative gables, one large gable with 
little ornamentation and two small ones, with more ornamentation 
(Fig 27). It is evident that previous store fronts have been bricked up 
in the past as can be seen in Fig. 27 where wall indents form. The 
main façade of the building still has its original fenestration, with the 
windows and shutters intact.

The chosen building has a Grade III B heritage designation from 
the City of Cape Town. This means that it has considerable intrinsic 
significance as a good example or representation of a typology 
characteristic of the immediate area and it may demonstrate a high 
degree of intactness (CoCT, 2020: 26). These resources are significant 
in their neighbourhood or suburb. Principally these resources are to 
be conserved, and remedial action should be taken to enhance 
their significance and to retain the historic fabric (CoCT, 2020: 26). 
An investigation of the building made it clear that the interior of the 
building and the northern façade are not as conservation worthy as 
the southern façade of the building. This is due to the lack of historic 
fabric of this façade.

Negotiating the building’s heritage character is vital to breathe 
new life into the site. Protecting a building solely because of its 
age, without it having any historical significance, could hinder area 
development. Preserving the southern façade is paramount, as any 
design changes would dramatically alter the heritage-protected 
Albert Road streetscape, underscoring the need to safeguard this 
façade.

2.2.3. Further Heritage Considerations

Figure 26: Photograph of main historic gable (Author, 2023) 

Figure 27: Photograph of main historic gable (Author, 2023) 



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Heading east from the CBD on Albert Road into Woodstock, 
the landscape shifts from tall high-rises to industrial warehouses 
and factories. Vertical density decreases, creating an open, sky-
dominated feel. Horizontal features become prominent on the 
east-west axis, while north-south elevations vary, making orientation 
challenging without notable vertical landmarks.
Sites of historical or commercial significance surround the site, 
yet they seem unnoticed because the users experience them as 
inaccessible. District 6, for instance, is adjacent to Woodstock and 
only two kilometres away from die opposite end of Woodstock 
(where Albert Street connects to the Salt River circle), but feels far 
away and disjointed from it (Fig 28). 

In the CBD, Green Point and further along the Atlantic Seaboard, 
green spaces are accessible to the public, well maintained and 
cared for by the municipality. Here the community can engage with 
one another and chance encounters can take place. 

Nodes of interest in and around Woodstock include the historic Castle 
of Good Hope and the Old Biscuit Mill. Some criticism exists around 
the Old Biscuit Mill being a cause for gentrification in the area; local 
businesses were ignored when it came to space letting (Joseph, 
2014: online). One owner stated that they had been ignored and 
spaces were rented out to businesses that do not directly support 
the local economy. This in turn caused rent to increase drastically.

Walkability in Woodstock varies, with sidewalks often inadequate, 
especially in north-south streets where artisans spill onto narrow 
sidewalks for work and displays. In contrast, main east-west streets 
such as Victoria and Albert Roads have wider sidewalks. The area 
falls within transportation zones 1 and 2, requiring fewer parking 
spaces for restaurants and commercial activities. Public transport 
includes taxis and a MyCiTi bus line along Albert Road, linking Lower 
Woodstock to the city centre.

However, connectivity within Woodstock is problematic. Pedestrians 
sometimes navigate car parks, which can be safe if reclaimed, but 

2.3. MACRO ANALYSIS
otherwise dangerous. Solutions may involve raising walkways or 
widening sidewalks. The connection between specific spaces (‘Cité’) 
and the broader urban context (‘Ville’) significantly influences urban 
life in Woodstock.

Figure 28: Site highlighted in red (Author, 2023) 



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2.4. MESO ANALYSIS
Staying in the WEX1 apartment building west of the site brought 
awareness of a stark contrast between daytime hustle and bustle 
and nighttime silence. Woodstock buzzes with activity during the 
day, but this vitality vanishes after sunset, leaving spaces devoid 
of activity and the safety provided by a community’s watchful 
eyes. Gentrification and industrialization have contributed to this 
pattern, with many areas coming to life only during the day, while 
residents commute home, often spending up to an hour in transit. 
This emptiness at night fails to create defensible space, as noted by 
Newman (1996), and can lead to increased crime rates.
Defensible space is more successful in parts of Woodstock with a 
higher density of residents, raising the question of the importance of 
mixed-use spaces that engage with the street and create ownership 
for residents who find themselves living in a mixed-use building with 
housing incorporated into it.

When moving through Woodstock, it is evident that there is a mix 
of different cultures and religions in the area. Religious structures are 
dotted across the neighbourhood (Fig 29) near one another, i.e., 
the Anglican, Baptist and Catholic churches, with the Mosque in 
close proximity. These religious structures sit nonchalantly amongst 
businesses and residences and act as important community 
gathering spaces. 

Newer developments that densify the suburb include the Woodstock 
Exchange [WEX1], a development with mixed use retail spaces 
and housing on the upper storeys. This theme continues in other 
developments, such as One on Albert, Woodstock Quarters, and 
the Iron Works. These developments are conspicuous due to 
their gentrification of the area, but are none the less successfully 
mitigating some congestion in the area. 

The proximity of the MyCiti bus route on Albert Street can introduce 
more opportunities for tourists visiting Woodstock to explore its 
historical value and to experience this multi-cultural space. This bus 
route can support economic growth as it creates tourist flow into the 
area, which is currently lacking. Creating a safe nightlife for the area 

will also aid in tourists being able to explore and enjoy the area for a 
longer period.

Figure 29: Site highlighted in red (Author, 2023) 



26

2.5. MICRO ANALYSIS
The Baltic Timber Co. started operation in 1928, making it 95 years old, 
but the building is more recent. Referring to the mapping section, it 
was built between 1945 and 1968. The earliest aerial image of the 
site was taken in 1953 (CoCT, 2023: online), which indicates that the 
building is between 70 to 77 years old. The form-giving is evident 
from earlier aerial imagery from 1935 (Fig 30) as it was used to ease 
the turning circle for either horses and carts or trucks delivering and 
picking up goods from Woodstock Station and the surrounding 
industrial area. The mapping exercise shows the changes throughout 
the site and acts as a visual essay to explore the site. 

The current structures on the site comprise administration offices, 
a hardware store, workshops and warehouses, with the most 
significant building being the office building, which has a heritage 
grading of Grade III B. This grading might be too high as the building 
has gone through multiple changes through the years, which voids 
the heritage aspects of the building. As previously mentioned, the 
shop fronts have been bricked up, creating indents in the wall of 
the historic southern façade. Treating the building as a structure 
with a heritage Grade III C might be more beneficial to the building 
scheme.

Site restrictions and limitations

 - Mixed use 2 [MU2] zoning across whole site
 - 25m height restriction
 - 0 – 10m in height requires a 0m setback from other buildings
 - 10m in height requires a 4,5m setback from other buildings
 - 8m setback from street centre line
 - 100% coverage
 - 4.0 floor area factor 

Figure 30: Site highlighted in red (Author, 2023) 



27

2.6. MAPPING
The information has been derived from the City of Cape Town’s city 
map viewer and was adapted by the author into a graphic map. It 
is to be used as a visual aid by the reader to understand the formal 

planning by the municipality in the larger area, immediately around 
and on the site itself. 

Figure 31: Woodstock and Foreshore (Author, 2023) Figure 32: Site highlighted in red (Author, 2023) 



28

Figure 33: Zoning, density indicated by darker red (Author, 2023) Figure 34: Zoning, Business (Author, 2023)



29

Figure 35: Zoning, Industrial (Author, 2023) Figure 36: Zoning, Mixed-Use  (Author, 2023) 



30

Figure 37: Zoning, Open Space  (Author, 2023) Figure 38: Zoning, Residential  (Author, 2023)



31

Figure 39: City of Cape Town’s designated zone for informal trading  
(Author, 2023)

Figure 40: Heritage grades, darker red is more conservation worthy 
(Author, 2023) 



32

Figure 41: Heritage around the site (Author, 2023) Figure 42: Aerial photograph 2022 (CoCT, 2023:online)



33

The development of Phase 1 captures what is needed in the 
contextual fabric of the site. The first phase of the development 
focuses on the Artist District (Fig 43). This is to create a multi-phase 
development and create a slower transition from the current site 
to the new site. This can help with the effects of gentrification and 
create more community engagement in the building scheme. 
Understanding the heritage implications and site history creates an 
understanding of community living and working in the area; this will 
inform more sensitive design choices to better connect these spaces, 
and in turn will encourage the social exchange of information 
through an understanding of the relationship between the ‘Ville’ 
and the ‘Cité’.

In conclusion, the Baltic Timber Co. site in Woodstock, Cape 
Town, stands as a microcosm of the neighbourhood’s rich history, 
cultural diversity, and urban transformation. Woodstock, known for 
its contemporary art scene and burgeoning ‘hipster’ culture, has 
experienced significant development initiatives, such as the Biscuit 
Mill, Woodstock Exchange (WEX1), Woodstock Brewery, and new 
office buildings such as Strauss Auctions. While these developments 
bring positive changes, they also highlight challenges related to 
affordable housing and employment opportunities for local residents.
Woodstock’s historical timeline showcases its evolution from 
indigenous Khoikhoi presence to Dutch colonialization, the era of 
slavery, and subsequent waves of settlement and industrialization. It 
is essential to recognize this history while navigating the complexities 
of gentrification and urban development.

Heritage guidelines provided by the City of Cape Town emphasize 
the significance of conserving cultural heritage resources, including 
buildings, landscapes, and archaeological sites. These guidelines 
categorize heritage resources into three grades, with Grade III being 
the focus of this analysis. The southern façade of the chosen building 
holds considerable intrinsic significance and should be preserved.
Woodstock’s urban fabric experiences a shift from day time vibrancy 
to night time silence, influenced by gentrification, industrialization, 
and the commuting patterns of residents. Defensible space and 
mixed-use developments play a crucial role in fostering community 
engagement and safety.

The micro, meso, and macro analyses of the site reveal the 
intricacies of Woodstock’s urban landscape, its cultural diversity, and 
the potential for economic growth. Initiatives such as the MyCiTi bus 
route can promote tourism and thus support local businesses.
Despite site restrictions and heritage considerations, the Baltic 
Timber Co. site presents an opportunity for thoughtful development 
that respects its historical context while contributing to the 
neighbourhood’s growth and inclusivity. Balancing preservation and 
innovation will be key to creating a vibrant and sustainable urban 
space in Woodstock.

2.7. CONCLUSION



34
Figure 43: Phase Development Timeline (Author, 2023)



35
Figure 44: Flow of theoretical discourse (Author, 2023)

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3. [THEORY] IN EXCHANGE FOR…
 3.1. Introduction
 3.2. The Social Exchange of Information 
 3.3. Theoretical development
  3.3.1. Fragment Layering
  3.3.2. Composed Vertigo
  3.3.3. Industrial Re-Rationalization
 3.4. Post-industrialism vs Neo-industrialism
  3.4.1. Post-Industrialism
  3.4.2. Neo-Industrialism
 3.5. Conclusion



37

A Creative Commons is a type of legal licence to make use of an 
artist’s work without having to directly ask the artist’s permission to 
use his or her work, but only mentioning the artist when making use 
of his/her work (Creative Commons, n.d.: online). To architecturally 
manifest a Creative Commons space requires an open exchange 
of ideas and values, where the social exchange of information can 
take place in an informal way over a drink or expressed in street art, 
rather than in a formal classroom or lecture hall. Woodstock, Cape 
Town, is a space where people express themselves in many forms as 
it has a rich contemporary art culture. 

Woodstock is famous for the number of graffiti and murals in the 
area. This is contextually important and is considered part of the 
urban culture. The difference between graffiti and murals is that 
graffiti is considered vandalism and murals are commissioned works 
of art. “What is perceived is the elitization and appreciation of what 
was once considered just an illegal expression of the less favoured 
classes” (Masutti & Camargo, 2020: 199). Graffiti is an act of rebellion 
against the machine or the powers that be, usually local government 
or municipalities, with no control over what is painted or tagged [a 
tag is the graffiti artist’s name]. Murals in certain cases contain social 
commentary but are mostly artworks linked to businesses as part 
of their ‘hip marketing’. Graffiti, being an act of rebellion, does not 
make it free from rules. Rules pertaining to graffiti include not painting 
over someone else’s work without permission or spraying cars or 
religious buildings (September, 2022: online). These rules create a 
hierarchy within the graffiti community.

Although the focus of the proposed designs is not the graffiti or the 
artists per se, they have smaller roles in the contextual narrative found 
within Woodstock and the surrounding area. Other important aspects 
pertaining to Woodstock include industrial and residential spaces, 
workshops and studios, and the relationship between the different 
typologies found in these architectures. These include the industrial 
re-rationalisation, fragment layering, and composed vertigo. A short 
investigation into the characteristics of neo-industrialism (Fig 45) and 
post-industrialism is also done to define what the design approach is. 

3.1. INTRODUCTION
It is further used as a design guideline.

Figure 45: Urbanite intervention into past industrial spaces (Author, 2023)



38

The social exchange of information happens anywhere and 
everywhere daily. There is always a chance for interaction 
between people; social exchange is regarded as a less formal 
way to exchange information, rather than in a formal setting such 
as a classroom, court rooms, and conference venues. One aspect 
evident in the formal spaces is that a power hierarchy exists between 
parties. The power structure of a formal exchange has a superior 
and an inferior party (Fig 46), in contrast to an informal exchange 
with someone in a bar, on the street or in a gallery (Fig 47). Those 
structures still exist, but the lines of power are blurred, which creates 
an equal exchange between urbanites. 

The creation and manifestation of chance encounters within the 
built environment help with the social exchange of information to 
takes place. Walkable cities manifest social exchange well because 
people cannot hide behind their anonymity as they do in vehicles 
or on the internet. Yet, having a walkable city is not enough to 
encourage proper social exchange of information, but urbanites 
would have to slow down to be able to properly interact with those 
around them. To architecturally create urban pockets of slow space 
would encourage these exchanges.

3.2. SOCIAL EXCHANGE OF INFORMATION
The touchstone (Fig 48) investigates the social exchange of 
information by means of active participation of one user. The user is 
the ‘barman’ (the informant), and the newspaper is the information 
that is being exchanged. The barman pours a drink over the 
newspaper that is in tension, creating tears in the newspaper. As the 
newspaper tears, the information is symbolically exchanged. The 
tension in the newspaper is created by the connections between 
the old and the new juxtaposed next to each other. 

Figure 46: Formal exchange 
(Author, 2023)

Figure 47: Informal exchange 
(Author, 2023)

Figure 48: Touchstone - Layered 
Experience, the social exchange of 
information (Author, 2023)

Figure 49: Social exchange as 
the between of ‘Ville’ and 
‘Cité’ and a layered urban 
experience (Author, 2023)



39

Social exchange theory developed as a psychological analysis of 
actions taken by individuals in a group. This phenomenon explains 
how people interact with each other by looking at what can be 
gained in a relationship with another person (Fig  50). Social exchange 
theory comprises four key components that explain how individuals 
behave socially. This framework outlines the tools for reinforcement, 
the rewards and benefits, as well as the resources involved in 
exchanges. These elements collectively influence an individual’s 
motivation to participate in social interactions (Davlembayeva & 
Alamanos, 2023: 2). 

How can social exchange theory influence architecture in a post-
industrial urban landscape to enhance the experience of urbanites? 
Creating chance encounters between urbanites of differing 
backgrounds creates opportunity for the social exchange (Fig 51).
The programme aids in the exchange of information by adding 

bars, eateries, galleries, and cafés to create not only habitability 
of Woodstock during the day, but creating a nightlife in the area, 
thus enhancing defensible space (Newman, 1996) by increasing 
human presence on street level for more hours during the day and 
establishing ownership in the area. Ownership ensues when there is 
accountability within a small community, where people know each 
other rather than being strangers (Newman, 1996:4). Ownership of 
the ‘Cité’ eventually leads to defensible space in the ‘Ville’.

Figure 50: Social exchange theory (Author, 
2023)

Figure 51: Interactions between urbanites 
(Author, 2023)



40

3.2. THEORETICAL FRAMEWORK

Fragment Layering (Fig 52), is connected to the concept of 
palimpsest. In this context, palimpsest refers to a re-editing process 
where existing layers of objects or traces are covered or removed, 
either partially or completely (Ren, 2021: 717). The site does not have 
significant historical value. However, studying aerial photographs 
of the site dating back to the 1930s, it is evident that the site has 
changed; there had been many other structures. The most notable 
of these were grain silos, which were demolished after the railway 
lines were moved. The footprints of demolished structures may not 
have been totally erased by history and may be under a concrete 
surface bed. Investigation of aerial photos may help trace where 
the buildings had been, with scars of the past being guarded by 
the existing. The investigation of the urban palimpsest formulates an 
understanding of the heritage significance found within the ‘Cité’.

“Although the globalization and digitalization 
of everyday life has led to less place-bound 
architectural practices or human interactions, 
“getting back into place” is a crucial position for 
a meaningful and long-term revitalization of urban 
landscapes.” (Sioli, Floet & Jennen, 2020: 676-677)

Architectural heritage may be poetically understood as: through 
the change of times buildings are built and demolished to 
accommodate needs of the user and to fit into certain narratives 
of an era; the current era being globalization and digitalization of 
our cities which leads to less place-bound space for urbanites (Sioli, 
Floet & Jennen, 2020: 676-677). Constant change may cause certain 
histories of places to be lost to time. In some cases these may be 
rediscovered by historians, archaeologists or concerned citizens. 

Only by investigating aerial photographs dating from 1935–1973, 
the previous existence of the silos [demolished circa 1973 (Fig. 28)] 
became apparent, revealing its industrial functions in the past. The 

3.2.1. FRAGMENT LAYERING

Figure 52: Palimpsest flowing into fragment layering as the between of 
‘Ville’ and ‘Cité’ and a layered experience (Author, 2023)



41

images showed two other structures still present on site, dating back 
to at least 1935 (Fig. 14 & 19). One structure is a warehouse that 
supported the silos and the other is currently used as a workshop. 
Neither have heritage significance, according to the CoCT 
map viewer (2023:online). A layered experience of the industrial 
character can be re-created by architecturally acknowledging the 
demolished silos. Pallasmaa (2005: 60) states that the body knows 
and remembers. Just as the body remembers, the site remembers its 
past as scars buried beneath the new.

Conceptually, fragment layering starts when structures from the past 
are identified and used to inform current design strategies (Fig. 53 & 
54). The existing structures do not play a significant role in fragment 
layering, because they still exist. Fragment layering values memory 
of place more than addressing the current existing. This manifests 
historical depth within the design development and serves as an 
important guideline to determine form-giving and spatiality on the 
site—learning from the past to compose the new. 

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Composed vertigo relates to the narrative of the users of the site 
and the surrounding context (Fig 55). Contemporary Woodstock is a 
creative urban space. Dwellers manufacture and sell furniture. They 
paint and sell their art works. Many have businesses and offices. Yet 
where the narratives cross, conflict may occur. A business owner 
may, for instance, scold a young graffiti artist for spray-painting on 
his building. The concept is contradictory by nature, as are certain 
narratives. What makes a mural acceptable to some and graffiti 
unacceptable to others?

Users may experience space in different ways: space syntax provides 
a theoretical and analytical method for describing spatial properties 
from the viewpoint of the situated observer (Psarra, 2009: 21). By 
developing a framework of different urbanites in a space (‘Cité’), 
their experiences can be understood. 

Characterisation of urbanites:
 - Visitor [the Outsider];
 - Artist [the Creator];
 - Curator [the Judge];
 - Barman [the Informant]; and
 - Cleaner [the Caretaker].

Taking the narratives of the above-mentioned urbanites into 
account, the spatial planning of the site will enable their different 
uses of the site. The visitor will be the main character within the 
urban space as this user will be the most common on the site. Their 
experience will be the most diverse of all the users as it is in many 
cases a first-time experience. Keeping this in mind, the design must 
serve the other users also, because without them the site will cease 
to function as a space of social exchange.

According to Pallasmaa (2005: 41) architecture  strengthens 
the existential experience for the urbanite. If strengthened, you 
are balanced and in control, whilst vertigo is being unbalanced 
on otherwise stable ground. Conceptually, this manifests when 
attaching tectonic to stereotonic structures, or the new to the old. 

3.2.2. COMPOSED VERTIGO

Figure 55: Narrative flowing into composed vertigo as the between of 
‘Ville’ and ‘Cité’ and a layered experience (Author, 2023)



43

This might create a balancing act between different structures; 
some composed and some in vertigo (Fig. 56 & 57). Different 
users experience different states of composure and vertigo when 
experiencing site. It is up to the individual to experience the site as 
individual narratives will differ from group narratives. The visitor will 
experience the site the most individualistically when compared to 
the experience of other users. These urbanites will not be active on 
the site daily, but will visit occasionally. The balance between these 
users is an important characteristic that is addressed in the design by 
allocating spaces to users in an appropriate manner.

The aim is to find a balance between the existing structures and 
the new structures. These narratives all add up in the experience 
of composed vertigo felt by users. The architecture manifests this, 
because it becomes a design guideline to evoke conversation 
between old and new structures and past and present users.

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3.2.3. INDUSTRIAL RE-RATIONALISATION
Industrial re-rationalisation relates to industrial regionalism (Fig 58). 
The current state of the de-industrialisation of Woodstock is due to 
the 4th industrial revolution and the information age, as evident in 
the development of the Woodstock Exchange, the Biscuit Mill and 
the Iron Works–all buildings that had been empty. This caused many 
to look for employment elsewhere as industrial buildings start to fall 
into disuse and require renewal and revitalization, without taking 
away from the surrounding context and doing a disservice to it. The 
restructuring of existing industrial buildings and spaces need to be 
approached sensitively. 

“Buildings designed to accommodate production 
processes (production, storage, distribution and 
marketing) are closely related to two phenomena 
of modern era: mechanization and industrialization, 
which made them an expression of modernity.” 
(Caldas & Moreira, 2012:154)

The re-rationalisation of the existing industries surrounding the site 
and the context aims to break the grid of rationality and refigure 
the existing industry into a neo-industrial urban landscape that uses 
the contextual findings to adaptively reuse existing buildings. The re-
rationalisation aims to not remove the grid, but rather to adaptively 
reuse it, giving a new sense of place (Fig 59 & 60). Industrialisation 
forms part of the larger modernist movement regarding automation 
and mechanisation of living and working. The re-scripting of these 
buildings adds to an industrial re-rationalisation but is not enough to 
fully encompass the re-scripting of the industrial fabric.

The adaptation, demolition, and reuse of warehouses on site 
restructures the industrial fabric, not only aesthetically and 
programmatically, but also in an experiential way. The restructuring 
of the industrial grid is not necessarily a design strategy, but a design 
outcome–it happens even whilst ignoring the concept thereof.

The outcome aims to achieve a renewal that forms part of a 

Figure 58: Industrial regionalism flowing into industrial re-rationalisation as 
the between of ‘Ville’ and ‘Cité’ and a layered experience (Author, 
2023)



45

neo-industrial urban landscape; to improve socio-economic 
standards of an area whilst remaining just in not creating an influx 
of gentrification, but rather an increase of economic freedom. The 
architecture unfortunately is not the key factor to consider when 
discussing gentrification, as the local and provincial governments 
also play a significant role in this. As the free market continues to 
flourish, gentrification remains a risk when attempting the renewal of 
an area.

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Post- and neo-industrialism (Fig 61) are both linked to the 4th industrial 
revolution and the development of the microprocessor (Fig. 62). The 
difference between the two ideas is that the one is of economic 
structure, and the other that of a change in how dwellers live and 
work.

3.4. POST-INDUSTRIALISM VS NEO-INDUSTRIALISM

A post-industrial society is a stage in a society’s evolution when the 
economy shifts from producing and providing goods and products 
to one that offers services (Crossman, 2019: online). This is a product 
of de-industrialization that has been most rampantly happening 
since the start of the information age and the 4th industrial revolution. 
Daniel Bell characterized post-industrialization in his book, The 
Coming of Post-Industrial Society: A Venture in Social Forecasting, as 
follows:

 - Production of goods (like clothing) declines and the production 
of services (like restaurants) goes up.

 - Manual labour jobs and blue-collar jobs are replaced with 
technical and professional jobs.

 - Society experiences a shift from focusing on practical 
knowledge to theoretical knowledge. The latter involves the 
creation of new, inventive solutions.

 - There is a focus on new technologies: how to create and utilize 
them as well as harness them.

 - New technologies foster the need for new scientific approaches 
like IT and cyber-security.

 - Society needs more college graduates with advanced 
knowledge who can help develop and advance technological 
change (Bell in Crossman, 2019: online).

Post-industrialisation creates a divide between the working- 
and middle classes. One of the symptoms of this divide may be 
gentrification, especially in cases where the upper classes move 
into spaces of the working class, creating socio-economic divides in 
neighbourhoods. The divide between upper and lower Woodstock is 
one of these examples.

3.4.1. POST-INDUSTRIALISM

Figure 61: Industrial re-rationalisation flows into 
neo- and post-industrialism creating the layered 
experience (Author, 2023)

Figure 62: Venn diagram of Neo- and Post-Industrial 
(Author, 2023)



47

Human activity qualitatively changes during the neo-
industrialization: human beings devote more time to learning and 
inventing automated machines (Pastukhova & Pastukhova, 2019: 
1). Automation gives urbanites freedom to rather pursue creative 
endeavours than manufacturing. This gives rise to similar issues 
pertaining to post-industrialism. The main difference between the 
two is that neo-industrialisation pursues social and environmental 
sustainability (Fig 63). It also encompasses the following, according 
to Pastukhova & Pastukhova (2019: 3):

 - Governance Structures: Anchored in participatory urban 
policies that mainstream sustainable urban and territorial 
development as part of integrated development strategies 
and plans.

 - Social Inclusion: Development must protect the planet and 
enable all inhabitants.

 - Spatial Development: Balanced territorial development that 
accounts for different scales of cities and human settlements.

 - Urban Prosperity: Inclusive and sustainable economic growth.
 - Environmentally Sustainable: Unsustainable consumption and 

production patterns need re-evaluation.

Where post-industrialisation happens passively, neo-industrialisation 
includes more control over the process and regards more planning 
aspects. Neo-industrialisation is the active reaction on post-
industrial society. It aims to create a more sustainable and equal 
urban landscape for the dwellers of the area. Neo-industrialisation 
focuses more on the intricacies of the larger urban landscape; post-
industrialisation focuses more on the individual characteristics of 
buildings. Taking both into consideration is important as the scale of 
the project creates larger intricacies that are not heavily focused on 
in post-industrial developments.

3.4.2. NEO-INDUSTRIALISM

Figure 63: Sustainable Urban Development (Pastukhova & Pastukhova (2019: 
3) Adapted by author.



48

In conclusion, the social exchange of information is a fundamental 
aspect of human interaction that occurs daily in various settings, both 
formal and informal. In formal spaces, there are often clear power 
structures supporting superiority over elements to instil inferiority, 
while informal exchanges tend to be more egalitarian. To enhance 
the experience of urbanites in a post-industrial urban landscape, the 
concept of social exchange theory can be applied in architecture.
Social exchange theory emphasizes the motivation of individuals 
to engage in social interactions based on the rewards and benefits 
they can gain from relationships. By creating chance encounters 
between urbanites of differing backgrounds, opportunities for social 
exchange are facilitated. This can be achieved by designing spaces 
that encourage interaction, such as bars, eateries, galleries, and 
cafés. By fostering a sense of ownership and accountability within 
the community, defensible space is created, which contributes to a 
more vibrant and livelier urban environment.

The theoretical framework proposed in this context includes 
“Fragment Layering,” which seeks to preserve and acknowledge 
the historical significance of the site while informing current 
design decisions. “Composed Vertigo” focuses on balancing the 
experiences of different urbanites and incorporating contradictory 
narratives into the design. “Industrial re-rationalisation” aims to 
adaptively reuse existing industrial structures while respecting the 
surrounding context and enhancing socio-economic standards.

Considering the transition from industrialisation to post- and neo-
industrialism, it becomes apparent that sustainability, social inclusion, 
and environmentally conscious practices are crucial elements to 
be incorporated into urban development (Fig 64). Neo-industrialism 
offers more active control over the process, allowing for deliberate 
planning to create a more sustainable and equitable urban 
landscape.

By integrating these theoretical concepts and principles, architecture 
can play a significant role in shaping post-industrial urban spaces to 
promote social exchange, enhance the experiences of urbanites 

3.5. CONCLUSION
and contribute to a more balanced and sustainable future for 
cities. The focus on creating meaningful interactions, preserving 
heritage, and fostering a sense of community can lead to a more 
vibrant, inclusive, and resilient urban environment that benefits all its 
inhabitants.

Figure 64: Industrial to Post-Industrial (Author, 2023)



49

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4. PRECEDENT AND CASE STUDIES
 4.1. Victoria Yards [Daffonchio Architects]
 4.2. Battery Park [DHK Architects]



51

4.1. VICTORIA YARDS [DAFFONCHIO ARCHITECTS]
Victoria Yards, Johannesburg, is a mixed-use urban space 
transformed from an industrial wasteland into a vibrant and creative 
hub. The urban spatial organization at Victoria Yards is characterized 
by adaptive reuse, community engagement, and a mix of functions 
that fosters a sense of place and creativity (Curiocity, 2021: online). 

1. Adaptive Reuse and Contextual Integration: Victoria Yards 
embraces adaptive reuse by repurposing existing industrial buildings 
and structures (Fig 67). The site’s industrial heritage is preserved and 
integrated into the design, giving it a distinctive character that 
celebrates its history. The architectural interventions seamlessly blend 
with the existing structures, contributing to the site’s neo-industrial 
aesthetic.

Figure 66: Aerial image of Victoria Yards (Google Maps, 2023: online) 
Adapted by author

Figure 67: The appropriation of an industrial courtyard into a space of 
gathering (Author, 2023)



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2. Mixed-Use Approach: Victoria Yards embraces a mixed-use 
approach, where art, culture, commerce, and community intersect 
(Fig 68). The space functions as a live-work-play destination, with 
artists and artisans working on site, and visitors engaging with the 
creative process while exploring the galleries and retail spaces. This 
mix of uses contributes to a vibrant and dynamic atmosphere.

3. Green Spaces and Sustainable Design: Victoria Yards incorporates 
green spaces and sustainable design practices. Courtyards and 
communal gardens (Fig 69) create opportunities for relaxation 
and socializing amidst a lush environment. The use of sustainable 
materials, rainwater harvesting, and energy-efficient systems align 
with the site’s commitment to environmental stewardship.

Figure 68: Mixture of different disciplines working in close proximity share 
skills and information (Author, 2023)

Figure 69: Green corridors (Author, 2023)



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5. Connectivity and Mobility: The urban space organization at 
Victoria Yards promotes connectivity and mobility. Pedestrian 
pathways and cycling lanes are strategically placed to encourage 
walking and non-motorized transportation within the site (Fig 71). This 
facilitates easy navigation and enhances the overall accessibility of 
the space.

4. Artistic Expression and Public Art: Artistic expression is a central 
theme at Victoria Yards (Fig 70). Murals, sculptures, and various 
forms of public art are scattered throughout the space, creating an 
immersive experience for visitors and infusing the site with creativity.

Figure 70: Art in a courtyard (Daffonchio Architects, 2018: online) Figure 71: Pedestrian safe space between buildings (Author, 2023)



54

To summarize, Victoria Yards is successful in the organization of its 
urban space as it embraces principals of adaptive reuse, mixed-
use, community engagement, sustainability, and artistic expression 
(Fig 72). The transformation of an industrial site into a creative and 
inclusive hub highlights the positives of urban revitalization and 
how this approach transforms underutilized spaces into cultural 
landmarks.

Figure 72: Material composition of buildings in Victoria Yards (Daffonchio Architects, 2018:online)



55

4.2. BATTERY PARK [DHK ARCHITECTS]
Battery Park, Cape Town, designed by DHK Architects, has an 
urban spatial organization that demonstrates thoughtful planning, 
functionality, and a strong connection to its context (de Klee, 
2019: online). The park is located in the V&A Waterfront precinct, a 
prominent area with a mix of commercial, residential and leisure 
activities. The precedent analysis focusses on the urban spatial 
organization of Battery Park:

1. Integration with Surroundings: The design of Battery Park seamlessly 
integrates with the surrounding urban fabric (Fig 74). The park’s 
layout and circulation patterns are well-connected to the adjacent 
neighbourhoods and waterfront promenade, ensuring easy access 
for both residents and tourists.

Figure 73: Aerial image of Battery Park (Google Maps, 2023: online) 
Adapted by author

Figure 74: Flow of the walkways (Author, 2023)



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2. Spatial Hierarchy and Zoning: This development is organized 
with a clear spatial hierarchy, carefully delineating different zones 
and activities. There are open lawns for gatherings and events, 
recreational areas for sports and leisure, and intimate spaces for 
relaxation and contemplation. The zoning allows for various activities 
to coexist harmoniously (Fig 75).

3.  Mixed-use and Amenities: Battery Park is designed as a mixed-
use space, offering a range of amenities and facilities. It includes 
playgrounds for children, outdoor fitness areas, public seating, and 
ample green spaces for picnics and leisure activities (Fig 76). These 
amenities cater for diverse user groups, making it an inclusive urban 
space.

Figure 75: Intertwining of mixed open spaces to form unity and cohesion 
(Author, 2023)

Figure 76: Sport amenities, skatepark and basketball court (de Klee, 2019: 
online)



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5. Connectivity and Accessibility: Battery Park prioritizes pedestrian 
access and connectivity. It incorporates well-defined walking and 
cycling paths that link to the surrounding areas, encouraging non-
motorized transport (Fig 78). The park is also accessible to people 
with disabilities, ensuring inclusivity for all.

4. Cultural Heritage: The integration of historical elements and 
public art installations adds cultural value to Battery Park (Fig 77). 
Interpretive signage and exhibits educate visitors about the site’s 
historical significance, enhancing the overall experience and 
strengthening the connection between past and present.

Figure 77: Battery of cannons exemplifies connection to the past through 
narrative (de Klee, 2019: online)

Figure 78: Spatial hierarchy ruled by walkways (Author, 2023)



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To summarize, Battery Park is successful in its organization of urban 
space. The planning and integration with the surroundings, inclusivity, 
sustainability, and cultural heritage makes it an asset to the city and 
a gathering place for locals and visitors alike (Fig 79).

Figure 79: New building compliments and acknowledges the past (de Klee, 2019: online)



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5. DESIGN SYNTHESIS
 5.1. Introduction
 5.2. Design Guidelines
 5.3. Program
 5.4. Design Process
 5.5. Final Design
 



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5.1. INTRODUCTION
In this chapter the problem of what happens to a industrial, buildings, 
structures and/or places after the closure thereof will be discussed. 
This one of the challenges that designers in the 21st century must 
address. This issue persists in areas that previously where industrial 
spaces, such as Woodstock, de-industrialize due to the 4th industrial 
revolution (Fig 81).

Through the precedent and case studies of, Victoria Yards and 
Battery Park, how the conversion of a heritage and industrial space 
into a new space took place. Victoria Yards being a complex 
of old industrial buildings converted into an urban artist hub in 
Johannesburg, is an appropriate case study when exploring how the 
use of a complex of old industrial buildings can be appropriated into 
a new space. The heritage surrounding Woodstock is an important 

Figure 81: Problem statement: Industrial disuse (Author, 2023) Figure 82: Bridge between ‘Ville’ and ‘Cité’ (Author, 2023)

factor when design an urban space, the precedent study of Battery 
Park focus on the urban development of a cultural space. The 
site does not have much cultural significance other than it being 
on Albert Road and it having a prominent gable, Battery Park has 
success due to community engagement on a cultural level.

Learning from the precedent and case study the bridge between 
‘Ville’ and ‘Cité’ can be crossed (Fig 82). The crossing of the 
metaphysical bridge from a larger urban context to a specific one 
manifests it self  through the conceptual and theoretical exploration 
and development of Fragment Layering, Composed Vertigo and 
Industrial Re-rationalisation. The social exchange of information is the 
essence  of the design outcome as it happens through the means of 
a neo-industrial urban space. 



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Figure 83: Aim of the project (Author, 2023)

The project aim is to create an inclusive space for not only visitors 
of the site but those who love in close proximity of the site and on 
the site. This aim will be achieved when there is a balance between 
community engagement and commercial success on the site (Fig 
83). This chapter explains how the architecture attempts to achieve 
this aim through design guidelines, an accommodation list, the 
design process and the final design.



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5.2. DESIGN GUIDELINES
These guidelines aim to create a dynamic, layered, socially 
engaging and sustainable urban space in Woodstock, Cape Town, 
by leveraging the characteristics of the context and addressing the 
needs and aspirations of the community. These guidelines are as 
follows:

 -     Foster Social Exchange and Interaction: 
 - Design spaces that encourage informal social exchange, 

such as bars, eateries, galleries, and cafés, where people can 
interact and exchange ideas in a relaxed setting.

 - Create a balance between formal and informal spaces 
to cater to different preferences and encourage diverse 
interactions.

 -     Acknowledge	and	Preserve	Historical	Significance:
 - Integrate the concept of “Fragment Layering” to acknowledge 

and preserve the historical layers of the site within the design.
 -         Use existing structures or remnants to inform design decisions 

and add a sense of historical depth to the space.

 -     Balance and Embrace Contradictory Narratives:
 - Implement the concept of “Composed Vertigo” to balance 

and incorporate contradictory narratives and experiences of 
different urbanites.

 - Ensure that the design accommodates and respects diverse 
perspectives and allows for individual interpretations of the 
space.

 -     Adaptive Reuse and Sensitivity to Industrial Spaces:
 - Embrace “Industrial Re-rationalization” by sensitively adapting 

and reusing existing industrial structures, promoting sustainability 
and respecting the existing context.

 - Integrate new elements that harmonize with the industrial 
aesthetic, creating a cohesive and visually appealing urban 
landscape.

 -     Promote Sustainability and Inclusivity:
 - Integrate sustainability practices into the design, such as energy 

efficiency, waste reduction, and green spaces, to contribute 
to a more sustainable urban environment.

 - Design with inclusivity in mind, ensuring that the space is 
accessible and caters to a diverse range of users, promoting 
social inclusion and equality.

 -     Engage the Community:
 - Involve the community in the design process through workshops, 

feedback sessions, and collaborative design approaches to 
ensure the project meets their needs and aspirations.

 - Consider co-creation initiatives to incorporate local insights 
and knowledge, fostering a sense of ownership and pride in 
the community.

 -     Address	Gentrification	Concerns:
 - Work closely with local and provincial governments to address 

concerns related to gentrification and ensure the project’s 
positive impact on the community, balancing economic 
growth with community needs.

 -     Maintain Cultural Relevance:
 - Respect and integrate the local culture, including the rich 

contemporary art culture and the significance of graffiti 
and murals in the area, into the design to maintain cultural 
relevance and authenticity.

Through the application of these guidelines an architectural solution 
to the problem statement can be achieved. In this, the aim of the 
project can be met with the afore mentioned architectural solution.



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5.3. ACCOMMODATION LIST

Figure 84: Accommodation list (Author, 2023)



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5.4. DESIGN PROCESS

Figure 85: Early spatial development of project (Author, 2023) Figure 86: Early spatial organisation red as walkable space (Author, 2023)



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Figure 87: Further spatial organisation (Author, 2023) Figure 88: Further spatial organisation focusing on datum (Author, 2023)



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Figure 89: First conceptual development of full site (Author, 2023) Figure 90: Model in context (Author, 2023)



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Figure 91: Second conceptual development of full site (Author, 2023) Figure 92: Model in context (Author, 2023)



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Figure 93: Program diagram of early conceptual model 1 (Author, 2023)



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Figure 94: Program diagram of early conceptual model 2 (Author, 2023)



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Figure 95: Model of early stairwell exploration based of the industrial 
inspiration  on silo’s (Author, 2023)

Figure 96: Interior of stair model (Author, 2023)



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Figure 97: Model of project after being down 
scaled to phase 1 and 2, here after the project 
downscaled to only phase 1 as the project was   
very large (Author, 2023)



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Figure 98: First exploration of tower (Author, 2023) Figure 99: Second exploration of tower (Author, 2023)



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Figure 100: Exploration of tower in plan and section (Author, 2023) Figure 101: Exploration of tower in plan and section with connection to 
other spaces (Author, 2023)



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Figure 102: Exploration of tower skin (Author, 2023) Figure 103: Sectional exploration of tower skin (Author, 2023)



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Figure 104: Plan exploration and connections of skin to structure (Author, 
2023)

Figure 105: Roof of tower (Author, 2023)



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Figure 106: Structural exploration of tower and exploration of skin detail 
(Author, 2023)

Figure 107: Exploration of tower connection to takeaway (Author, 2023)



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Figure 108: Exploration of possible shading device on the tower’s western 
facade (Author, 2023)

Figure 109: Exploration of connection between tower and takeaway on 
plan (Author, 2023)



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Figure 110: First model of tower showing Eastern and 
Southern facade (Author, 2023)

Figure 111: First model of tower showing Western and 
Northern facade (Author, 2023)



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Figure 112: Second model of tower showing Eastern 
and Southern facade  (Author, 2023)

Figure 113: First model of tower showing Western and 
Northern facade (Author, 2023)



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Figure 114: Exploration of bar (Author, 2023) Figure 115: Sectional exploration of takeaway 1 (Author, 2023)



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Figure 116: Sectional exploration of takeaway 2 (Author, 2023) Figure 117: Exploration of takeaway (Author, 2023)



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Figure 118: Ground floor plan (Author, 2023)



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Figure 120: Sections and elevations of project prior to removal of grid 
structure (Author, 2023)



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Figure 121: Section of tower (Author, 2023)



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Figure 122: Model prior to changes in grid and moving the bar (Author, 2023)



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Figure 123: Model of exploration into removing density of the grid and removing the bar from the square  (Author, 2023)



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Figure 124: Exploration into private artists residence (Author, 2023) Figure 125: Exploration of the administration offices on site (Author, 2023)



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Figure 126: Detail explorations of doors to graffiti gallery (Author, 2023) Figure 127: Exploration of pivot door into the graffiti gallery (Author, 2023)



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Figure 128: Exploration of timber columns in formal gallery (Author, 2023) Figure 129: Exploration of connection between gable and new roof 
(Author, 2023)



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Figure 130: New truss for formal gallery (Author, 2023) Figure 131: Sectional exploration graffiti gallery (Author, 2023)



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2: Retail
3: Kitchen
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5: Reception
6: Boardroom
7: Storage
8: Garages
9: Artist Studio
10: Tower Exhibition
11: Ablutions
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Figure 133: Detail Plan of the Bar (Author, 2023) Figure 134: Detail Plan of Takeaway (Author, 2023)



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Figure 135:  First Floor Plan 
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1: Residence
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Figure 138:  First Floor Plan 
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1: Office
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3: Photography Studio
4: Print Room
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Figure 139: Detail Plan of Boardroom (Author, 2023) Figure 140: Detail Plan of Viewing Deck (Author, 2023)



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Figure 141: South Elevation (Author, 2023)



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Figure 142: West Elevation (Author, 2023)



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Figure 143: Section A-A (Author, 2023)



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Figure 149:  Side walk 
pushed back creating 
more walkable city and 
creating the chance for 
informal trade to happen 
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Figure 150: Pedestrian 
friendly space outside 
the bar to the North 
(Author, 2023)



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Figure 151:  Layering 
between buildings 
create intimate 
courtyards (Author, 2023)



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Figure 152: Tower and its 
relationship towards the 
takeaway (Author, 2023)



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Figure 153: The Tower 
acts as a beacon and a 
way of organisation for 
urbanites (Author, 2023)



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GRAFFITI GALLERY

RESIDENCE GARAGES

RESIDENCES FORMAL  GALLERY

BAR

STUDIOS/OFFICES

OFFICES FOR SITE MANAGEMENT
AND DEVELOPER

ARTIST’S RESIDENCE

TOWER

PHASE 3

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TAKEAWAY

Figure 154: The site as a 
whole (Author, 2023)



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Figure 155: CREATIVE COMMONS signage marks two of the entrances into the site (Author, 2023)



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Figure 156: Model of the site in the developers offices (Author, 2023)



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Figure 157: The bar just before it opens for the day (Author, 2023)



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Figure 158: The tower acting as a folly between ‘Ville’ and ‘Cité’ (Author, 2023)



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Figure 159: Studios with balcony space(Author, 2023)



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Figure 160: The bar has an interior and exterior space (Author, 2023)



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Figure 161: Courtyard view from the tower (Author, 2023)



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Figure 162: Entrance into site from the parking (Author, 2023)



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Figure 163: Entrance into the site from the Street (Author, 2023)



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Figure 164: The Formal Gallery being prepared for an exhibition (Author, 2023)



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Figure 165: Birds-eye view of the site (Author, 2023)



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Figure 166: Early morning rainy day in Cape Town, urbanite next to historic facade (Author, 2023)



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Figure 167: Open offices at 07:55 (Author, 2023)



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Figure 168: View of Table Mountain from top viewing level of tower (Author, 2023)



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6. DETAILING SOCAIL EXCHANGE
 6.1. Introduction
 6.2. Cons Touch Stone
 6.3. Precedent studies
  6.3.1. 242 State Street [Olsen Kundig]
  6.3.2. Viewing Tower Hoge Bergse Bos   
   [Ateliereen Architecten]
 6.4. Regulations
  6.4.1. Zoning
  6.4.2. Area calculations
  6.4.3. Parking
 6.5. Structural Systems
  6.5.1. Substructure [Pile foundations + ground  
   beams]
  6.5.2. Superstructure [Connections to and   
   between IPE sections]
 6.6. Materiality and Site Systems
  6.6.1. Old vs New
  6.6.2. Reuse and recycling of masonry elements
  6.6.3. Drainage Systems
 6.7. Conclusion

 



127

6.1. INTRODUCTION
The technical resolution of this project rests upon the balance 
between the existing and the newly designed structures and 
how their connection is executed with the utmost sensitivity. 
This chapter’s focus is the technical exploration, delving into 
the nuances of construction and regulatory considerations. 
The chapter investigates precedents, site-specific regulations, 
structural systems, materiality investigations, and innovative 
sustainability strategies, each of which contributes to the 
construction aspect of the project.

At the heart of the investigation lies the interaction between 
old and new structures. The success of the study relies on how 
these distinct structures harmonize and coalesce into a unified 
whole by drawing inspiration from precedents such as 242 
State Street by Olsen Kundig and Viewing Tower Hoge Bergse 
Bos by Ateliereen Architecten, exploring the connection of 
the past with the present, and ensuring that the architecture 
honours its past while pushing the boundaries of innovation.

Navigating regulations determine the options of how the site 
is to be developed. The aim is understanding the intricacies 
of what is possible on the site, and discerning how regulations 
define the site’s limitations. Area calculations unveil the 
canvas of possibilities while also exposing the constraints. 
Parking calculations, intricately linked to area calculations, 
zoning requirements, and the programme of the site, help 
strike a balance between functionality and aesthetics. 
Drainage systems act as water collection systems that not only 
adhere to regulations, but also contribute to the sustainability 
and vitality of the site through efficient irrigation.
      
Exploring the technical intricacies, the structural systems 
come into sharp focus. Analysing the substructure and 

superstructure of the new buildings, and investigating how 
their configurations can optimize the usage of space and 
structural integrity. The materiality of both existing and new 
structures on the site becomes an important element of the 
exploration. Scrutinizing the connections that bridge the 
old with the new seek to strike a balance between tradition 
and innovation. Furthermore, the project ventures into the 
field of creative sustainability by exploring how materials 
from structures slated for demolition can be repurposed 
innovatively, not just as a means of disposal, but as a resource 
to enhance site conditions and minimize waste.

By navigating the intricacies of architectural construction and 
technical ingenuity, we aspire to not only create functional 
spaces but to craft environments that resonate with human 
experiences and sensibilities.



128

6.2. CONSTRUCTION TOUCHSTONE
Connections and joints are the basis of any project 
where existing structures interact with new structures. The 
connections and joints within the scheme aim to not only 
connect structural components to one another but also to 
connect different buildings and spaces to one another.

This connection between different structures aims to translate 
to the connection between users of the space. This is done 
in the touchstone via different structural explorations of 
walkways through a stereotonic element. The stereotonic 
mass not only represents the original structures on the site, but 
also new developments on the site.

Different connections to the monolith can be seen throughout 
the model; each connection perpetuates spaces where 
chance encounters as well as the social exchange of 
information can occur. These spaces manifest themselves 
into pockets within the urban fabric of Woodstock.

Figure 170: Construction touchstone final poster drawings (Author, 2023).



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6.3. PRECEDENT STUDIES

242 State Street, a gallery space designed by Olsen Kundig, 
epitomizes the fusion of industrial aesthetics and modern design. The 
building explores intricate innovation, materials, and environmental 
sensitivity. With a blend of form and function, 242 State Street 
is a compelling precedent, offering insights into contemporary 
architectural artistry. The analysis delves into the technical and 
design intricacies that define this building and shows how it is applied 
in the project.

1. Detailing and Craftsmanship6.3.1. 242 STATE STREET

Figure 171: 242 State Street (Olsen Kundig, 2014: online).

Figure 172: Doorway mechanism (Olsen Kundig, 2014: online).

Figure 173: Use of gear system to open pivot door (Author, 2023).



130

This interplay between old and new of 242 State Street compliments 
the project’s exploration between old and new structures. The 
precedents’ interaction between the building’s façade and the 
street creates engagement from urbanites and acts as good urban 
design.

2. Material Expression 3. Construction Sequencing and Challenges 

Figure 174: Contrast between materials (Olsen Kundig, 2014: online). Figure 176: 2000-pound window wall 
(Olsen Kundig, 2014: online).

Figure 177: Column structure and 
process solution (Author, 2023).

Figure 175: Material use in project (Author, 2023).



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The Viewing Tower Hoge Bergse Bos, is a tower designed by Ateliereen 
Architecten. This structure represents the intersection of innovative 
design and its harmonious integration with the natural surroundings. 
With its distinctive form and commitment to environmental sensitivity, 
the tower offers valuable insights into contemporary architectural 
design. The analysis delves into the technical and design details that 
define the building and how its complexities are resolved.

1. Structural Innovation and Form6.3.2. VIEWING TOWER HOGE BERGSE BOS

Figure 178: Viewing Tower Hoge Bergse Bos (Ateliereen Architecten, 2017: 
online).

Figure 179: IPE connections (Ateliereen Architecten, 2017: online)

Figure 180: Isometric of IPE sections and connections (Author, 2023).



132

2. Safety Measures and Regulations 3. Sustainability and Ecological Considerations

The use of IPE sections and the connections between one another 
are an intricate part of this precedent tower’s design. Whilst these are 
present in the same manner in the project’s tower, the connections 
of IPE sections are not only between one another. These sections will 
be used to support concrete floor and roof slabs as well.

Figure 181: Railings, stairs and landings (Ateliereen Architecten, 2017: 
online)

Figure 183: Tower in the landscape (Ateliereen Architecten, 2017: online).

Figure 184: Tower in urban landscape (Author, 2023).
Figure 182: Railing, stair and landing details (Author, 2023).



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6.4. REGULATIONS

The zoning of the site is Mixed-Use 2 (MU2). The MU zones 
accommodate a mixture of business, appropriate industrial 
and residential development (CoCT, 2012: 65). These zones are 
particularly suitable at the interface between general business and 
industrial zones (CoCT, 2012: 65). This zoning designation creates the 
opportunity of vertical growth up to 25m, used by the 21m tall tower. 
The site also has an allowance of 100% coverage and floor area 
factor of 4,0. 

6.4.1. ZONING
6.4.2. AREA CALCULATIONS

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ERF 14760

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PROPOSED TOWER

PROPOSED GARAGE

7771m2

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SITE PLAN

SCALE 1:200

SITE PLAN

Figure 185: Diagram of zoning allowances with project overlayed (Author, 
2023).

Figure 186: Area calculations of proposal (Author, 2023).



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6.4.3. PARKING

GSEducationalVersion

BERNARD MAREE

Facility Name:

Clients:

Sheet No.

Drawn by: Checked by: Approved by: Date:

Location:

Revision

Scale

Drawing Title:

NOTES:

10/27/2023

SCALE ON DRAWING

CREATIVE COMMONS ARTIST DISTRICT

BLOK, CITY OF CAPE TOWN & ZEITZ

38 ALBERT ROAD, WOODSTK, CAPE TOWN

A101

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PROPOSED GALLERY 1

PROPOSED GALLERY 2

PROPOSED BAR AND STUDIO'S

PROPOSED RETAIL AND HOUSING 1

PROPOSED NEW TAKEAWAY AND ABLUTION

PROPOSED RETAIL AND HOUSING 2

PROPOSED TOWER

PROPOSED GARAGE

7771m2

662m2

552m2

362m2

577m2

215m2

198m2

55m2

263m2

PROPOSED PARKING 1238m2

PROPOSED PARKING

AB

BC

CD

DE

EF

FG

GH

HI

IJ

JK

LA

KL

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4.8m

11.5m

28.1m

3m

12.1m

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44m

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74.9m

75.8m

5.5m

135°

135°

94°

84°

256°

90°

101°

N

SITE PLAN

SCALE 1:200

SITE PLAN

Figure 187: Diagram of parking on site (Author, 2023).



135

6.5. STRUCTURAL SYSTEMS

The main system used in the substructure will comprise pile 
foundations to support columns and ground beams that will support 
the rest of the superstructure above. The use of this system is due to 
the soil conditions on site being very sandy and unable to support 
the superstructure (Timesproperty, 2023: online).

6.5.1. SUBSTRUCTURE [PILE FOUNDATIONS +  GROUND BEAMS]

Figure 188: Diagram of pile foundation and ground beams (Author, 2023). Figure 189: Diagram indicating different substructural systems in the 
project (Author, 2023).



136

The main superstructure used in the project is IPE sections and H 
columns. Other structural systems include masonry such as bricks 
and in situ concrete.

6.5.2. SUPERSTRUCTURE [CONNECTIONS TO AND BETWEEN IPE SECTIONS]

Figure 190: Diagram indicating different superstructural systems (Author, 
2023).

Figure 191: Diagram indicating different superstructural systems in the 
project (Author, 2023).



137

6.6. MATERIALITY AND SITE SYSTEMS

The site consists of an ensemble of older buildings of different 
architectural styles and materiality. Many are not relevant in the 
overall heritage of the site and are to be demolished and the 
materials repurposed for site improvement and landscaping. The 
structures that are kept require sensitive connection between the 
structures as the masonry work might be brittle due to age and/or 
weathering. The main focus of this connection is how the new roof 
structure connects to the existing gable wall.

6.5.1. OLD VS NEW

Figure 192: Diagram of old structures and new structures (Author, 2023).



138
Figure 193: Detail of new connecting to old (Author, 2023).Figure 194: Section of new connecting to old (Author, 2023).



139

Many masonry structures on site are demarcated for demolition, 
yet this does not mean the bricks need to end up on a landfill. The 
bricks can be used in non-structural elements of the design as well 
as being incorporated into the landscaping of the project (Clay 
Brick Association of South Africa, n.d.: online). This is seen by many 
as a green alternative and a clever way to recycle bricks that would 
have otherwise been transported to a landfill.

6.6.2. REUSE AND RECYCLING OF MASONRY ELEMENTS

Figure 195: Process of refurbishing old bricks (Author, 2023). Figure 196: Uses for refurbished bricks (Author, 2023).



140

Figure 197: Stormwater collection strategy (Author, 2023). Figure 198: Permeable stormwater management system (Author, 2023).

Drainage in urban landscapes pose challenges due to the nature 
of non-permeable materials used in urban design. The solution to 
the issue is to use more permeable materials to mitigate overuse 
of municipal stormwater systems on site (Armitage et al., 2013: 1). 
Permeable pavements refer to pavements that are constructed 
in such a manner that they promote the infiltration of stormwater 
runoff through the surface into the sub-layers and/or underlying 
strata (Armitage et al., 2013: 30), either gravel or eco pavers. The 
incorporation of this and other water management devices such 
as underground rainwater storage tanks can help mitigate non-
permeable stormwater management systems.

6.6.3. DRAINAGE SYSTEMS



141

Figure 199: Rainwater downpipe connection to ground (Author, 2023).



142

6.7. CONCLUSION
This chapter explored the intricate interplay between existing 
and new structures in architectural construction, delving 
into regulatory considerations, precedents, and technical 
intricacies. Drawing inspiration was drawn from precedents 
such as 242 State Street by Olsen Kundig and the Viewing 
Tower Hoge Bergse Bos by Ateliereen Architecten. The 
analysis underscores the fusion of tradition and innovation, 
with a focus on detailing, craftsmanship, materiality, and 
sustainability.
Investigating and understanding the regulations of the 
South African built environment, including zoning, area 
calculations and parking requirements, form the basis of 
our design narrative. Having examined the substructure 
and superstructure, creative material reuse is emphasized. 
Sustainability principles, such as permeable pavements and 
rainwater collection, underscore crafting resilient urban 
spaces.
In summary, this chapter revealed the intricate tapestry of 
architectural construction and the transformative power of 
design to create a harmonious connection between design 
and construction. 



143

The project investigated the intricacies of urban life in a post-industrial urban landscape in Woodstock, Cape Town, during 
a time of de-industrialization worldwide. The investigation’s focus was rooted in discovering what the in between of ‘Ville’ 
and ‘Cité’ is. Using theories that relate to palimpsest, narrative and industrial regionalism the project took shape to form 

the between of the ‘Ville’ and the ‘Cité’. 

 The between of these two spaces came in the form of walkable space throughout the entirety of the site that encourage 
community engagement and social exchange between urbanites. This relationship between a specific place in the 
urban landscape and the overall urban landscape creates opportunity for community engagement and flourishing.

The economic success of the community is also found in the between, the between having capabilities of mixed-use 
space and multi-use spaces as relating to a focus on urban development and spatial development within neo-industrial 
theory. The architecture of the space aids in creating a place of gathering and motivating chance encounters, visible in 

spaces such as the tower, the galleries and/or in the bar. 

The architecture becomes part of the specific space in the urban landscape, the ‘Cité’, wear as the walkable space 
become the larger urban landscape, the ‘Ville’. These two spaces together become the between of the ‘Ville’ and the 

‘Cité’.

7. CONCLUSION



144

I have always found an interest in how cities work and how people within cities interact with one another based on how