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They naturally ventilate and control temperature, so breeze (or screen) blocks are a perfect addition to any South African abode. Plus, they provide privacy and transform a space with their eye-catching patterns. Whether you like the cool contemporary look or you lean into a more retro aesthetic, this is our roundup of the best blocks for all tastes.

Owned by the De la Hunt family, Klay has been making bricks in the Western Cape since 1970. Its blocks are made from natural clay, and in addition to aligning with eco- conscious building practices, they also highlight local craftsmanship. Klay offers a wide range of products, including a comprehensive selection of super-chic breeze blocks. There are 17 styles in total, available in several colours, including Chai, Espresso and Latte. The company’s stunning lattice bricks in Chai were recently used to create an eye-catching statement wall at the Weylandts furniture store in Green Point. | klay.co.za

Tile and surface manufacturer Wolkberg Casting Studios has added breeze blocks to its repertoire – but with a spin. “Instead of having different designs made from the main material, like classic breeze blocks, we produce a ‘window block’,” says Ramielle de Jager, CEO and creative director at Wolkberg, of the innovative product. “This means it has a standard square opening that can receive an insert of the client’s choice. Options include brass, copper, stainless steel and glass; we’ve even had custom inserts made in collaboration with Down To The Wire from snares that are often used by poachers to trap animals, taking something horrific and negative, and turning it into art”. | wolkbergcs.com

At VISI, we’ve long been fans of Veelvlak’s handmade ceramic surfaces, conceptual pieces and murals. It’s not surprising, then, that the brand also offers a fabulous range of breeze blocks in various finishes and patterns, both hand-dipped and made of a hardier terracotta. Its flat blocks can be used as a floor surface too. As Veelvlak’s Erlo Brown explains, “Our specialty is customisation. We make the pieces clients need if ‘off the rack’ is not an option.” | vlvlk.com

South African clay brick and paver stalwart Corobrik has been manufacturing bricks since 1902. Despite this, the brand isn’t resting on its laurels, and has recently added a new collection of breeze blocks to its range. The rectangular blocks are available in an extensive assortment of colours, from a sandy-red Roan Satin and a light Agate Satin to a dramatically dark Black Brick Travertine. | corobrik.co.za

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Sculptural on the outside and voluminous within, this Benoni contemporary farmhouse is not your average family home.

Compact and low-maintenance were two keywords in the brief to architect Andrew Payne before design began on this project. The owners – a South African couple of Greek origin with two young children – were looking to downscale from the expansive home they’d been living in. “The owners were tired of being slaves to their home; it required a lot of upkeep, and they realised that they mostly only spent time in a third of it,” says Andrew, founder and managing director of Drew Architects. “They wanted something more suited to their needs as a family and, most importantly, a place they would not need to spend much time and money maintaining.”

Having found an acre of land in Greenfields, which they then sub-divided, the couple initially contacted Miguel Simoes of Vestim Construction, the contractor on their previous home, and asked him to be part of the project. Miguel’s only condition was that he got to handpick the architects, which is when he got in touch with Drew Architects.

“After initial consultations, we contacted the clients and said we’d deliver on their farmhouse brief, and ensure that we ticked the boxes of non-negotiables, but that we’d like to push the envelope slightly,” says Andrew. “They told us to go for it. They trusted us implicitly. We had no reference imagery or anything to go by; we just knew they wanted a face-brick facade, a sheeted roof and something that was easy to look after.”

Andrew chose to work with Corobrik’s modern satin face-bricks in black. “They formed the basis of everything that followed. We were aiming for the unconventional. We kinked the roof geometry to appear as a mono-pitch, but then instead of bringing the sides of the steel frame ‘skeleton’ down vertically, we maintained the 90-degree angle to the roof pitch, creating an unusual but powerful light steel architectural form.”

The roof provides protection for the glazing on one side of the home, covering the sliding doors, which enables you to still open them on a windy or rainy day. On the other side, the pitch of the roof allows the beautiful, soft south light to filter in, naturally lighting the spaces without them becoming overheated. The home’s steel frame and steel sheet cladding with slats act as a protective layer. The three main materials used in the build – face-brick, steel and off-shutter concrete – all require minimal maintenance and gain a beautiful patina over time, and the owners were completely seduced by the result. “They said it was unlike anything they’d ever seen before, which made them love it even more,” says Andrew

The warmth that the blonde oak flooring and ceilings bring to an otherwise stark build was a considered design element. Together with the home’s immense volume, it makes the family spaces inviting. Although there’s an industrial feel about it, the hard edges and sharp lines are expertly juxtaposed against the wood and tactile finishes, and softened by plush furniture and decor items. Interior designer Deanne McBride of Cocoa Bean Interiors was entrusted with adding this layering and delicate touches. “It was challenging to maintain a balance; we had to create a warm, homely feel that would complement the surroundings while not being too minimalistic or too bold,” she says. “Almost all the furniture and art in the home were locally sourced and manufactured. We pride ourselves on supporting local designers and artists; it’s a non-negotiable for us.”

And so the home is filled with custom pieces, including a dining table and chairs by Louw Roets. For the lounge, Deanne chose a Gary Stephens drawing, because his use of colour and pattern, as well as the size of the artwork, work well with the atmosphere of the home. A Lionel Smit painting on the wall next to the whisky cellar adds sophistication, as do the hands in the entrance hall, with the deconstructed guns in the TV room being Deanne’s favourite piece.

“We were doing backflips when the concept came together – and we’re thrilled with the result,” says Andrew. “Open briefs don’t come along every day, so this was a dream project for us”.

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From small beginnings in 1902, Corobrik has evolved into South Africa’s leading clay brick and paving manufacturer. Corobrik’s product quality and performance attributes remain key to the company’s success.

“We are clearly seeing an uptick in the use of face brick, which has been rediscovered by the construction industry and architectural profession as a creative, sustainable, long-lasting and durable material that can actually make buildings look sexy,” says Corobrik CEO Nick Booth.

What is fascinating about face brick is that it is equally at home on affordable housing or at the other end of the spectrum on iconic flagship projects. There is no doubt that fashion changes and building materials come and go, but you just have to look at Victorian London to realise how much of it was built from brick. And that is now being revived again in upmarket housing developments in areas like Regent’s Canal.

“What is so exciting about face brick as a building material is that you can add texture and depth to a structure by making use of hollowed spaces or stepping brickwork in or out, which also creates an interesting play on light and shadow. These are all additional benefits inherent in face brick that architects and other built environment professionals are rediscovering for themselves,” says Booth.

Corobrik is more than happy and willing to work with architects to realise their visions. “We are there to provide the practical and technical assistance to transform their creativity into a reality. We are there to ensure that we consistently supply bricks of the correct shape, size and colour, and to give professional advice where needed. It is the kind of supporting role that we have always prided ourselves on, and which we will continue to offer going forward,” concludes Booth.

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When a petrochemical giant elected to consolidate its operations in new premises in the heart of Sandton, Paragon Group brought the company’s corporate dream to life.

The unification of Sasol’s corporate culture was the primary driver behind the company’s decision to move its business units and activities from a scattering of locations across Johannesburg into a single purpose-built building.

Paragon Architects, led by principal architect Anthony Orelowitz and assisted by project architects, Tershia Habbitts and Jose Ferreira, studied the Sasol logo closely to interpret it as a built form, and used the company structure as the departure point for the conceptual design of the building. The interior design showcases Sasol’s corporate brand in an elegant manner that considered the architectural elements of the building and brought all Sasol’s business’s together into a single, connected workspace.

“The concept was initially set up as a straight line linking the various units,” says Anthony. “This was, however, seen as spatially too linear, so the form evolved into something more serpentine, which generated a more interconnected space and was more easily accommodated on the site.

Paragon Interface won the tender for the Interior Design, Space Planning and Service co-ordination commission, led by Claire D’Adorante, Dale Friedman and Kirsty Schoombie. The interior architecture is based around large airy light-filled atria, and open plan office spaces providing staff with a working environment that is both stimulating and calming on the senses.

Inspired by the notion of Sasol’s various business units surrounding a nucleus and consisting of a central core and integrated floor plate with bridges that lead to the various departments, the contemporary workplace design allows for free movement both vertically and horizontally through the building.

Interestingly, the iconic S-shaped floating glass structure is also the first development that will lead the way in opening up the next new precinct on Katherine Street.

The glass facades were carefully engineered to ensure this 5 Star Green Star design satisfied performance and aesthetic requirements.

With the Joburg skyline in the background, the building rises from the ground like an azure jewel, reflecting the light.

“The glazing is a combination of reflective glass spandrels and vision glass, which combine to form a unified crystal facade,” says Anthony. “It was important to us to push boundaries in this design, which is characterised by light volumes externally and two dramatic skylights articulated with acoustic baffles internally.

The concept of open, transparent and remote workspaces is extended to include interactive facilities such as restaurants, canteens, art galleries and coffee shops.”

A central core of circulation and services ties the building together, and the various areas are linked by a series of bridges. One of the main challenges was the site, which is on a curving edge of Katherine Street: The architects had to ensure a 68 000 m² building with a capacity of 7 500 people could be accommodated and well connected both vertically and horizontally.

The final product leaps the boundary of the commercial edge of Sandton to sit as a floating glass box hovering above indigenous parkland.

“We provided the building with a perimeter that is almost entirely green, nestling the architecture softly in its surroundings,” says Anthony. “It is a landscape as interactive as the architecture it supports.”

Winding paths guide visitors past art and sculptural elements, through vegetation displays that showcase carefully chosen indigenous trees and shrubs known for attracting birds and butterflies.

Planter walls rise and fall organically, containing rolling and sweeping berms and a forest of indigenous trees, creating sculptural spaces that open up to the sky and that will, with the aid of integrated lighting designs, come to life at night.

Sasol Place received a Corobrik SAIA Architectural award for Excellence at the Corobrik South African Institute of Architects (SAIA) awards evening in May.

For more information, visit paragon.co.za.

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We caught up with South African ceramic mosaic artist Jane du Rand, now based in Brisbane, Australia, to talk about her work and the mosaics she created for the facade of the K-RITH tower building in Durban, home to the Africa Health Research Institute.

What prompted your move to Australia?

I never meant to leave South Africa but all of my family had moved, including my parents, and I didn’t want them to grow old in a place where I would not be able to see them.

What is it about ceramic tiles that is special to you?

I love the feeling of the clay in my hands. It offers so much opportunity to experiment with texture, pattern and shape. The surface does not have to be flat; it provides a base on which to build and a surface to carve. The scale of some of the projects you’ve undertaken is mind-boggling.

What is the biggest piece you have produced?

My biggest project in terms of square metres was a building at Melrose Arch in Johannesburg, which I did together with Bronwen Findlay and Andrew Verster. The building part was 400 m², and I did a further 300 m² of mosaic on the paving in front.

On both sides of a curved wall enclosing a courtyard are depictions of indigenous plants with healing properties, such as bitter aloe, buchu and wild ginger.

What was your brief from the client for the mosaics you created for the K-RITH Tower Building in Durban?

I did not have a very detailed brief from the clients for this project. I knew it was part of the Nelson R Mandela School of Medicine and that research into HIV and TB was done in the building. The client gave me the drawings showing the various sites on the building where artwork was required. They did specify using the double helix on the stairwell wall and asked me to involve disadvantaged youth in making the ceramics. I proposed using different themes in each area, with repetitive shapes and interconnected patterns serving as the common thread. So on one wall we had indigenous plants used in traditional African medicine, on another some cells and viruses enlarged and juxtaposed with plant forms, and on the reception floor healing mandalas. [Jane worked with HIV-positive patients in the creation of the mosaics.]

On both sides of a curved wall enclosing a courtyard are depictions of indigenous plants with healing properties, such as bitter aloe, buchu and wild ginger.

Much of your work has a three dimensional quality to it. What do you want people to take away from seeing your pieces?

I suppose I would like people to be able to recognise the natural world that I most often use as a reference in my work, and to perhaps start to have an appreciation for the native plants and creatures around them.

The K-RITH Tower Building in Durban, designed by FGG Architects, was a finalist in the Corobrik SAIA (South African Institute of Architects) Awards 2017/2018 of Merit and for Excellence.

For more information, visit ahri.org and durandmosaic.com.

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The SAIA Awards programme is structured over a period of two years, and conducted in three stages. In the first year, Awards for Architecture are presented by the various Regional Institutes affiliated to SAIA. The Corobrik-SAIA Awards of Merit are bestowed in the second year and thereafter, the Awards for Excellence are announced. The Awards for Excellence are rewarded only for an exceptional achievement in the field of architecture. Only projects which have received an Award of Merit are eligible for this award. 

Here are the eight 2015/2016 winners of the Awards for Excellence, announced this past weekend:

1. House La Lucia

Located in La Lucia, Kwazulu-Natal and designed by Designworkshop:SA.

2. Military Health Base Depot for the South African Military Health Services (SAMHS)

Located in Thaba Tshwane, Pretoria. Designed by Jeremie Malan Architects and Interiors and Impendulo Design Architects for the Department of Defence: SAMHS.

3. New Residence

Located in Waterkloof, Pretoria and designed by Johann Slee and Yvonne Onderweegs of Slee & Co, Stellenbosch.

4. Residence at 79 Brommersvlei Road

Located in Constantia, Cape Town. Designed by Metropolis Design for architects Jon Jacobson and Mandi Pretorius of Ja Pretorius.

5. 17 Glen Avenue

Located in Higgovale, Cape Town. Designed by Sean Mahoney and Michael Lumby of studioMAS for Justin Letscher.

6. ‘Malapa’ Fossil Cave Cover and Visitors’ Platform

Located in the Cradle of Humankind UNESCO World Heritage site, Mogale City, Gauteng. Designed by Krynauw Nel Associates Architects from Johannesburg for the University of the Witwatersrand.

7. Number 1 Silo: Allan Gray Headquarters 

Located at the V&A Waterfront, Cape Town. Designed by Van Der Merwe-Miszewski Architects (VDMMA) and Rick Brown Associates for V&A Waterfront and Allan Gray.

8. Eclectic ZA Wilhelmiens: a Shared Dutch Built Heritage in South Africa

Compiled and edited by Karel Antonie Bakker, Nicholas J Clarke and Roger C Fisher (editors) of Visual Books, Pretoria (2014) for entrant Roger C Fisher with and on behalf of co-editors Nicholas J Clarke and the late Karel Antonie Bakker.

For more information, visit saia.org.za.

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Maharaj’s design, which formed part of his thesis, was entitled Yantra, Infrastructure of the Sacred and Profane. It proposed a multi-use water purification structure located on the edge of the River Ganges in Varanasi, India. 

“The built form mediates the relationship of different water cleaning technologies ranging from the mechanised and scientific to the natural,” explains Vedhant. “These are composed into a sanctuary, which is programmed in accordance with the daily rituals and requirements of water in the city. The building adapts itself into the vernacular urban fabric and becomes a seamless and expressive addition to Varanasi’s sprawling stepped river promenade.”

The judges, Phill Mashabane of Mashabane Rose Architects, Karuni of CNN Architects, as well as Andre Eksteen from Earthwood Eksteen selected the winner from the eight regional finalists who had received their regional awards last year. Maharaj’s design received a lot of praise for its focus on innovation and sustainability. “Innovation differentiates design resolutions and helps define architecture,” says Corobrik managing director, Dirk Meyer. “Innovation in sync with context provides the delight factor permitting architectural design to compete comfortably on the world stage. Technical skill, the ability to create memorable form that draws one in while treading softly on our planet put the finishing touches to sustainable architecture.” 

Upon hearing of the award, Dr Mpho Matsipa, his co-supervisor had this to say: “I believe that Vedhant demonstrates a lot of passion for thinking about the spatial, technological and ambient possibilities of infrastructure as culturally informed architecture. I would advise him to continue working and thinking across different scales and locations. I believe that he could become a leader in the field – specifically in terms of thinking about water architecture from the Global South.”

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As it’s Women’s Month this August, we thought it important to mention that four women were recognised for their outstanding achievements in architecture this year:

• Johannesburg-based Anne Graupner of 26’10 south Architects won an Award of Merit for her role as lead architect on a studio home in Brixton.
• Michele Sandilands of Cape Town’s Michele Sandilands Architects (MSa) received an Award of Excellence for her work on Phase 2 of UNISA’s Parow campus.
• Charlotte Chamberlain and Nicole Irving of Charlotte Chamberlain Architects, also based in Cape Town, won an Award of Excellence for their work on Springfield Convent School’s new pre-school and Art buildings.

Former vice president of SAIA, Nina Saunders, says “This is a notable achievement in an industry where women are only recently coming to the fore.”

Awards of Excellence also went to:

• Chris Fick and Johan Malherbe (Malherbe Rust Architects) for their work on Babylonstoren’s historic buildings.
• Office of Collaborative Architects (GAPP Architects/Urban Designers, Mashabane Rose Associates and MMA Architects for the //hapo_Freedom Park Museum.
• Cape Town-based Noero Wolff Architects and Noero Architects for the new addition to St Cyprian’s Girls’ School.
• Designworkshop:sa Architects for the Dunkirk All Suites at the Dunkirk Estate in KZN.
• House Kleynhans in Marble Hall, designed by TG Architects + Interiors (namely Thomas and Sureen Gouws).
• Johan Wentzel of W Design Architecture Studio CC for House Snyders in Blair Athol, Johannesburg.

saia.org.za

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Joburg-based Architects of Justice, the designers responsible for reinventing the school library, have been chosen to show their work at the prestigious Young Architects in Africa exhibition at the Venice Biennale.

When funds dried up for a “grand” library at a Jozi township school, it was an opportunity for Architects of Justice to swoop in with a playful shipping container solution.

It could almost have been a game. With Lego-like components, the use of playful, primary colours, and disregard for hurdles and obstacles that bordered on the child-like, two rectangular steel shipping containers were reinvented into a creative library space for children at a primary school in Alexandra.

Architects of Justice, based in Johannesburg, had originally been commissioned by non-profit creative agency MAL foundation to design a library “of international standards” for MC Weiler Primary School. But when funds for the “grand option” dried up, partners Kuba Granicki, Mike Rassmann and Alessio Lacovig, acutely aware that promises had been made to the children, went back to the drawing board.

While containers as a low-cost solution is not new, says Kuba, the group decided to “make a conscious shift away from dropping a container somewhere and cutting a window and door”. Instead, they grappled with how to fuel imaginations – how, with the use of colour, shape and light they could offer a stimulating, creative space for learners.

The ideas came blasting forth with options and solutions that pushed the boundaries: Put the containers at a 90-degree angle. Choose a bold, technicolour effect to create a vibrant, inviting exterior space instead of the low-maintenance face brick that would be cheaper – but also dull. Utilise the outside area around the containers to supplement the interior space. Push out the internal area by putting the glass outside the large window box to create more space and comfort. Play with tectonics, structure and form to rattle imaginations. Fabricate, don’t construct.

The bright red external staircase with its Lego block shapes and visible construction connect the bottom space with the top. The bottom container holds the books with long, thin windows located between the bookshelves. Its roof is used as an outdoor reading area, while a deck on the ground floor is used as a stage for school assemblies or performances. Kids can lounge around reading books on the huge window seat – painted in primary yellow and large enough to let in natural light. The upper container, painted in green and grey, is for reading and has study rooms as well as outdoor reading spaces. Ceilings are trimmed with low energy LED strip lighting.

They called it the SEED – metaphorically for the “germination of knowledge”, and literally for “Supplementary Extended Education Device”. And it took only four months to construct. What’s more, this award-winning project (a silver at the Loeries, a Gauteng Institute for Architects Merit Award last year and shortlisted for the Corobrick South African Institute of Architects awards of merit and for excellence) has the added benefit of it being a prototype that can be rolled out at other SA schools.

While this is imagined as a semi-permanent solution until funds can be raised for the grand library, “the kids are really enjoying it,” says headmaster Gumani Mukatuni. “It’s user-friendly and fun. I can’t yet imagine the impact it will have, but we know it will be a huge one.” 

Containers for the win! Read more article about container architecture here.

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The KwaZulu-Natal leg of the Corobrik Architectural Student of the Year Award celebrated projects that explored Durban’s inner city.

The recent Corobrik Architectural Student of the Year Award has been under the spotlight as top students from architectural learning institutions in South Africa are identified and celebrated.

The KwaZulu-Natal (KZN) awards evening was held at the KZN Institute for Architecture’s premises in Durban, where the top five projects from the University of KZN were exhibited. Local architects, lecturers and supporters of the industry turned up to find out who would represent the province at a national level in the final round of the awards programme, while sipping and socialising before speeches.

The top student awarded was Dennis-Lee Stols, whose project dealt with social and architectural issues surrounding Durban’s inner city cardboard recyclers, a network of insurgents in the city whose “make-do” attitudes and actions inspired him. Working closely with local award-winning NPO Asiye eTafuleni, Deniis spent the past two years investigating the urban challenges highlighted by the group’s endeavours. He was also inspired by Jan Gehl’s book Life Between Buildings and the questions raised about public space, its uses and definitions.

The result was a 5 500 square metre facility to support the recyclers’ activities and promote their integration and identity within the city. This incorporated a framework of industrial steel, zig-zag roofs and various modular structures from a palette of brickwork, concrete blocks and plywood. “It’s not about romanticising poverty; it’s more about celebrating the way people are actually doing things” said Dennis.

Joint second place for the award was shared by David Sharkey and Michael Madden. David’s project explored the stress levels of people negotiating the city and sought an urban solution through the design of public space and transport interchanges several city-blocks wide. Michael’s work explored perceptions of the police, physical security and public openness, which resulted in the design of a new regional headquarters for the SAPS, including a fallen officer’s memorial park.

Other impressive projects on display investigated various architectural solutions to the dearth of creative spaces in the inner city (by Cameron Finnie) and new possibilities for urban transport networks (by Geoffrey Richards).

What’s remarkable about this exhibition is its engagement with issues that are quite directly relevant to the local architectural and design scene. Viewers came away with some food for thought as well as having seen some inspiring visions for Durban’s inner city.

The exhibition will be available online through the KZNIA in 2013. See www.kznia.org.za for more details. 

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