The gabled veranda :

The everyday dwelling of colonial Durban

by Michele Jacobs

Introduction Over the years much has been written demolition.’1 It is these of the concerning the fate of the large colonial everyday that are the focus of this paper houses of Durban in both the local press in which the typical central passage plan and architectural journals. The publicity with the ‘Natal back’ is explained. The generated around these large, virtuoso characteristics and style of the front houses has contributed to their restora- elevation of the gabled veranda house tion and a change from domestic to is also analysed in terms of its principal various commercial functions that have components: the veranda, the gable and rescued them from demolition. fenestration. It is the small houses, many anony- Close scrutiny and analysis of the mously designed, what can be termed plans and elevations of a representa- the of the everyday, that are more tive number of gabled veranda houses susceptible to demolition and ruin. As in the Original Drawings Collection Oliver states: ‘as a result of a lack of (ODC)2 of the School of value placed upon small vernacular at the University of KwaZulu-Natal, of domestic use’ many have shed light on this popular and neglected been lost ‘through accident, neglect, everyday house typology of the late decline of traditions or deliberate Victorian, Edwardian and early Union

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Natalia 49 (2019) Copyright © Natal Society 2019 The gabled veranda house period in Durban. It is unfortunate that The ODC reveals that these character- many of these houses have disappeared istics can be recognised in the small, and those that survive are often hidden anonymously designed and ordinary behind high topped with razor everyday houses of Durban. Further- wire or electric fencing. more, the fact that a third of the draw- Others have become isolated by the ings in the collection were anonymously expansion of large developments such created adds credence to their value as as suburban shopping centres and hos- they provide important insight into the pitals. These are the nucleus of the sa- ordinary and everyday domestic archi- tellisation of which Baudrillard speaks,3 tecture of many of the European colo- in which these large developments nial settlers of the time. It could be said are the nucleus around which satellite that the preservation of the surviving businesses spring up. In the context of houses is important because they have these remaining houses, they become ‘collective and symbolic meaning’ even the ‘remnants and waste products’, the though they may not be ‘monumental’.6 detritus of the nucleus, isolated and un- suitable for domestic occupation; with The plan the only option a change of function to The ODC confirms that the plan of the adapt to this new built environment and gabled veranda house was a variation landscape around them. of the four-roomed house with a central corridor with the at the back The everyday separated from a and Lefebvre says the everyday is ‘the by a veranda in the form of a ‘Natal most universal and the most unique back’. Several factors contributed to the condition, the most social and the most incorporation of the ‘Natal back’ under individuated, the most obvious and the an articulated veranda in the transition best hidden.’ So he asks ‘why wouldn’t from the first wattle and daub ‘Bundu the concept of everydayness reveal the style’ houses to the permanent dwell- extraordinary in the ordinary.’4 ings that followed.7 Although Berke says an architecture According to Norberg-Schulz ‘di- of the everyday resists strict definition, rected plans have been legion during she relates the following characteristics: the course of history’ where in smaller houses the direction is simply a matter it may be generic and anonymous, unostentatious, it may be regarded as of axial symmetry, whereas in the larger banal or common, it does not seek dis- ones it may be marked by a passage onto tinction by trying to be extraordinary, which are added on either side. it may be quite ordinary, unselfcon- ‘The passage usually leads to a goal, scious, it may be crude but also sen- be it a major or a veranda. Often sual, provoking sight, touch, hearing it runs across the main volume to con- and smell and it may also be vulgar nect its two sides.’8 Durban’s colonial by rejecting good taste, and visceral. houses conformed to this concept of the But more importantly architecture of directed plan form in axial asymmetry, the ‘everyday’ acknowledges domestic which is evident in the central passage life, is functional: a requirement to sat- houses in the drawings of gabled ve- isfy rather than a style to emulate, and architecture of the everyday is built.5 randa houses under discussion.

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Natalia 49 (2019) CC-BY-NC cc Natal Society Foundation 2019 The gabled veranda house

According to Radford, up until 1890 vided ‘a convenient set of functional cooking took place ‘in a small build- and private spaces beyond the more ing set apart for this purpose’. The genteel front.’11 detached kitchen was placed at a safe distance from the house. ‘It was almost always placed at the back of the main , sufficiently far away not to be a fire hazard but not too far away to cause problems with cold food.’9 He describes the three primary factors that involved the separation of the kitchen from the main house. These were fire risk, the discomfort associated with cooking in hot climates, and social and racial segregation. This was evident in the earliest ‘Bundu style’ dwellings and persisted until technological changes facilitated the attachment of the kitchen to the back of the permanent dwellings that followed and continued well into the 1930s. The reason for this arrangement in the ‘Bundu style’ dwellings in colo- Typical central passage plan with nial Natal, and particularly in Durban, ‘Natal back’ was the fire hazard of materials such as thatch on the , heat and odours According to Radford the demise of the associated with the cooking process separate kitchen toward the end of the in a sub-tropical climate, and the need nineteenth century, was the ‘diminish- for ventilation caused by the use of an ment or virtual extinction of the fire open fire for cooking. Finally, and more hazard’ through use of fire-resistant ma- important, there was the separation of terials such as the corrugated iron roof, spaces of servant and master. and replacement of the open fire with Radford explains that this major the economical kitchen range. This ‘im- change occurred probably in the early proved method of cooking together with 1880s with ‘the addition on to the back better ventilation must have diminished of the house of a small, embryonic the other initial reason for distance that ‘Natal back’.10 Radford credits Kearney is heat and smell.’ When the kitchen, with this appropriate term and explains pantry and bathroom were attached to that it is ‘a deep veranda flanked on one the back of the colonial house in the side by a kitchen and on the other a form of the ‘Natal back’ from the 1890s pantry and in some cases a bathroom.’ on, a clear distinction between the front Various configurations of this standard and back of the house was evident and type are also confirmed in the ODC – a ‘it often retained a quasi-independence , a morning room or breakfast both on plan and in its structure.’12 With room were also included in the ‘Natal the provision of water-borne sewerage, back’ plan form. The ‘Natal back’ pro- the WC was also attached to the back of

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Natalia 49 (2019) CC-BY-NC cc Natal Society Foundation 2019 The gabled veranda house the house, albeit under a separate lean-to roof. The ODC also confirms that the central passage running from the front at the junction of the veranda and gable to the back veranda, usually separated the from the or and . The principal bedroom would be positioned at the front to take advantage of the projecting bay Front elevation of a gabled veranda house in the gable for light and ventilation. elevation, and more specifically in the According to Radford, these plans veranda, the gable and fenestration in can be seen as independent concep- the form of and . tual models in the context of ‘the largely unconscious, culturally-condi- The veranda tioned agreement among people as to Vellinga, Oliver and Bridge define the what constitutes an appropriate house veranda as ‘an open or partially walled, form.’13 It therefore became, over time roofed and often slightly raised living and with strong cross influences, com- area on the ground .’15 Kearney mon knowledge that the plan should uses Ward, Lock and Co’s 1888 Diction- be laid out in a certain way. These ary of the Leading Technical and Trade plans were therefore configurations of Terms definition for the veranda: a conceptual template. This confirms Winter’s statement that the common a covered way open at one side, language of construction was shared surrounding or partly surrounding a by architect, builder and craftsman and house, generally at the level of the that construction became codified and ground floor. The feature of the veran- da is a light roof projecting and sloping so well understood that the builder did 14 from the outside of a house of a not need details from the architect. comparatively narrow width.16 This colonial and culturally developed, appropriate plan form and its variations, Ornamental cottages with their pictur- endured well beyond the 1930s. esque rural air gained popularity with the Romantic admiration for the sim- The front elevation plicity of country life. An integral part The style or character of Durban’s of the ‘cottage orné’ was its setting in colonial domestic architecture was de- which the veranda played an important termined by a number of elements that role; linking the living rooms of the can be separately analysed, but when house to the garden.17 Kearney confirms combined formed the unique - this integral symbiosis between the tic architecture of the gabled veranda picturesque and the veranda; that the house. This combination of elements veranda ‘provided an important means resulted in the rich variety of embellish- of linking the house with the garden’ ments, both decorative and functional, and the form and roof of the veranda particularly those expressed in the front ‘supplied yet another series of devices

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Natalia 49 (2019) CC-BY-NC cc Natal Society Foundation 2019 The gabled veranda house to break up the geometry of the building without the veranda would require and to create, deliberately, effects of ir- overnight cooling. Sun protection was regularity and asymmetry.’18 The Pictur- another added advantage of the veranda, esque movement promoted, popularised reducing the greenhouse effect of and transformed the veranda, which radiation through glazed areas such as in effect became an enlarged picture windows and doors. Finally, the veranda frame through which the landscape facilitated cross ventilation when ori- was viewed.19 It was necessary for the ented on different sides of the house and house to be in complete harmony with in providing additional choices relative its surroundings. This could further be to wind speed and direction for veranda achieved by the shape and silhouette activities. of the house, the use of rustic materials According to Norberg-Schulz the and verandas.20 veranda along with the , According to Vellinga, Oliver and passage and , ‘are distinct figures Bridge ‘the use of the veranda clearly which transform the domestic space relates to climate.’21 Although unsuit- into a place where life may take place.’25 able for the English climate, the veranda Vellinga, Oliver and Bridge agree that was, however, particularly suited to the ‘in social terms the veranda facilitates Natal sub-tropical coastal climate and circulation between the outside and the instrumental in the development of Dur- inside of a building, serving communi- ban’s colonial domestic architecture. In cation, hospitality, and work purposes hot and humid areas it served as a dry according to need.’26 Kearney also and shaded space where breezes could confirms this notion that the veranda be obtained, cooling the house while is the element that ‘stands between at the same time protecting the walls, the architecture of “within” and that of windows and inhabitants from the heat “without” ’ as the veranda ‘separates the of the sun and torrential rains. H.S. building from its immediate surround- East described the veranda as ‘quite ings and links the interiors through a the most charming and useful feature transitional zone to the exterior.’27 in this climate, and a most necessary There were a variety of ways for the adjunct.’22 King concurs: the veranda, incorporation of the veranda into the ‘was a sign of European “adjustment” elevation since ‘the veranda may be to the climate, a feature made necessary integral to a building, forming part of by the social as well as spatial separa- the construction, or it may be built in tion of one dwelling from another, and, addition to it. It may be found on the as a space to spend one’s spare time, it back, front, or side only, or multi-sided was a symbol of economic and political and encircling.’28 Lewcock noted that status.’23 ‘the veranda provided the ideal vehicle Kearney also agrees when he states for the ostentatious and unnecessary that the most obvious advantage was decoration of the Victorian era and be- that the veranda afforded shelter from came such an integral part of the South driving rain, thereby protecting vulner- African scene that today it would be able walls, joints, doors and windows.24 inconceivable for us to imagine 19th Sheltering of the walls also had the Century architecture without it.’29 advantage of thermal comfort by shield- Kearney concurs that ‘the distribution ing them from direct sunlight which of the veranda is characterised by an

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Natalia 49 (2019) CC-BY-NC cc Natal Society Foundation 2019 The gabled veranda house enormous variety of form, construction, lighter systems gave way to the heavier location, enclosure and size.’30 In its precast concrete Tuscan Doric , various forms, the veranda, supported but little is known of their local manu- on an exotic system of columns, brack- facture.33 These more durable columns ets, and friezes in timber or replaced timber posts as weathering imported cast iron and finished with en- from the harsh sun and rain and destruc- caustic tiles, consistently provided the tion by termites took their toll. street elevation with a wide variety of complex detailing and opportunities for The gable and decoration. The veranda, Apart from the veranda, the Picturesque therefore, was the defining element of movement and ‘cottage orné’ also had the Durban colonial style and the ODC a profound influence on the emergence confirms how the veranda changed over of the front gable in the later part of several temporal periods and the numer- the Victorian era adding variety and ous opportunities for design variety that complexity to the street elevation. it facilitated. A combination of veranda and gable The value of the veranda, apart provided numerous possibilities ‘for an from a response to the weather, was a architectonic interplay which enhanced practical one in which it was used as the dynamic asymmetry of the villa con- bedrooms, offices and , and cept.’34 The verticality and projecting often contained a corner for the solid materiality of the gable provided a or cold box.31 Everyday life activities counterpoint to the horizontal, recessed of working, recreational reading, sew- void and lightweight materiality of the ing and writing could all take place veranda. The further projecting element on the veranda. Seeking a deliberate of the bay window formed an integral irregularity in total form allowed for part of the gable design as part of the greater planning and geometrical free- overall street elevation. ‘This whole dom and this diagonal emphasis could compositional idea could be treated be achieved by veranda rooms, and bay within a single-storied house.’35 windows at the corners.32 It was in the veranda support struc- tures that the greatest variety of mate- rials and change took place; imported hardwood posts with lattices or simple and continuous frieze in between being combined with cast iron elements. Va- rieties of timber fretwork patterns were imported from Europe and America by the end of 1900. Many cast iron types and patterns were also imported from major British manufacturers. A further evolution took place around 1910 when verandas were reduced in size, first on the southern and cooler side, then remaining only on the street elevation. During the Union period after 1910, the Gable detailing

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Norberg-Schulz claims that the ‘ga- decorative bargeboards, half-timbering bled of Central Europe is and finials, and other detailing such as undoubtedly one of the most charac- corner quoining, stippled plaster, ash- teristic and impressive manifestations lar pointing and brick or stone plinths of domestic architecture. Visually the reflected on the drawings, added to the gable faces the street, and the multijet- eclectic nature and materiality of the tied construction gives emphasis to the gable, which became a standard design lively and strong appearance.’ They element within the façade. are ‘distinguished by variety and unity; The projection of the gable and the hardly two houses are alike, and still bay window, however, created weather­ they all belong to the same “family”.’36 proofing difficulties as they were ex- The same could be said for the Durban posed to the vagaries of Durban’s sub- gabled veranda houses, so prolific in tropical weather conditions. Junctions Durban’s suburbs; their variety was between roofing finishes and parapet diverse, hardly two were alike, but unity walls and bay window flashings to the was established through their form and gable walls were particularly vulnerable materiality. The ‘width of veranda and to the natural elements as were window gable could vary; two verandas at the frames and walls, no longer protected corners could be extended to more than by verandas. Wide gable overhangs one view; square and polygonal bays provided some protection for bay win- with a variety of roof treatments, either dows, but Cape Dutch Revival gables separate or integrated, could provide ad- left the bay window more vulnerable to ditional projections and modulations.’37 the elements. Their urban context, however, ‘forms part of a social context and therefore has Fenestration to adapt more directly to its neighbours.’ If the veranda was the transitional According to Leon Battista Alberti, ‘in zone between inside and outside, then Town you are obliged to moderate your- fenestration in the form of doors and selves in several Respects according windows functioned as physical and to the Privileges of your neighbour.’38 psychological barriers between the These ideas and philosophies of urban interior and exterior spaces, the built social context are clearly demonstrated space and the landscape, the natural in the drawings and surviving houses, and the man-made. Before the mechani- particularly those of Clark Road and cally controlled interior environment Brand Road where the small gabled emerged, Kearney explains that ‘of veranda houses formed streetscapes all building elements, windows, doors with houses in the same ‘family’ but and openings generally played a pre- where no two were identical. eminent role as environmental filters.’ The drawings of the ODC confirm Furthermore, he notes that ‘expressions Norberg-Schulz’s tenet: the numerous of inner uses, of encapsulated occupants design possibilities that heightened the and their particular beliefs and values irregular feeling presented by varia- may be read into the fenestration system tions of window combinations within and its decorative parts; entablatures; the square, round and hexagonal bay shutters; side-lights and curvilinear fan- windows with flat or curved roofs. lights. An entire language of entry and The wide variety of gable ventilators, aperture may be discovered this way.’39

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The door forms ‘a linkage between the veranda facilitated this interchange space of human beings and everything between the finite interior space and in- that remains outside it, it transcends finite exterior beyond the door, veranda the separation between the inner and and boundary wall. the outer.’ That the door can be opened, The significance of the door as the its ‘closure provides the feeling of a physical and psychological barrier be- stronger isolation against everything tween the inside and outside, the private outside.’40 According to Simmel, hu- and the public makes its positioning manity sets itself boundaries, such as within the design of the façade all the the door. With the freedom to remove more important. While French doors the boundary, the door therefore pro- were the favoured option, doors varied vides a permanent interchange between in their design from solid raised pan- the finite interior space and the infinite eled doors to those with glass panels, exterior space: ‘life flows forth out of and with a combination of side lights the door from the limitation of isolated and fanlights that provided numerous separate existence into the limitless opportunities for design variety. Glass of all possible directions.’41 The door panels in doors did not function in the therefore separates the private confining same way as in windows and were interior spaces from the public exterior usually frosted or coloured and purely space of infinity. In the context of the decorative while allowing light into the colonial house and its relationship to the passage/corridor or at night to emit a garden and the street, this is significant, glow from the interior outwards. particularly in the suburban context Fenestration in the gabled veranda where the picturesque qualities of the house cannot be separated from the presence (or absence) of the veranda, where gradations of light, shade, glare and heat were affected by the transi- tional zone of the veranda. Within the asymmetrical gabled house, the door was positioned at the junction between gable and veranda. Once the timber were suspended and the veranda generally lifted off the ground, steps accentuated the positioning of the door and added further design possibilities. In the absence of a , a suitable entrance could still be achieved when the entrance was accentuated by the steps and the door framed by the ve- randa columns on either side. It is clear, then, that steps, portico, veranda and door must be seen as a single entity that contributed to an ap- propriate entrance for even the most modest . This system of integral Typical front door parts and the numerous configurations

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Natalia 49 (2019) CC-BY-NC cc Natal Society Foundation 2019 The gabled veranda house of these elements in combination with Apart from the psychological signifi- the front gable added to the variety and cance and benefits of the window, it also richness of the entrances, sheltered the served important functional purposes. door from the weather, and conveyed Through variations in pane and opening the social status of the owner, while shape and size, the environment of the contributing to an individuality of front interior could be controlled. Unlike the elevation. door, Kearney explains that ‘the Regen- As Kearney states, there is a ‘deep- cy period developed new forms of view rooted psychological and visual need window where one could consciously to have some form of connection with stand or sit “to take the view”, and the outside world; to know “where I perhaps at the same time be in a pool am” and to know what is “out there”.’42 of light suitable for reading or sewing.’ Windows performed this psychological With the advent of electric this connection in the colonial dwelling. Ac- notion of the pool of light has become cording to Norberg-Schulz the quality redundant and in the contemporary of light varies from place to place ‘but it world such ‘spatial and functional zones is difficult to grasp its varieties before it of use have disappeared.’ Bay windows is made manifest by means of the built survived, however, ‘for architectonic form.’ He quotes Louis Kahn who said reasons to provide asymmetrical bal- ‘the sun never knew how great it is ance to the form of the house.’46 before it struck the side of a building.’ Because architects understood this, they Conclusion ‘designed windows which materialize As Kearney states, ‘the long duration light and thereby visualise the atmo- of this gabled veranda type and its sphere of the place.’43 many vernacular variations in different This is particularly true of the bay parts of the city and among many dif- window, positioned in the front eleva- ferent peoples point to its remarkable tion or side elevation gables, which success.’47 provided views not just to the front but The ODC and the surviving houses to the side as well. The transparency confirm these variations with numerous of the window creates the connection combinations of bay window, ventila- between the inner and the outer but ‘the tors, corner quoining, finials and barge- one-sided direction in which this con- boards within the gable and a variety nection runs, gives the window only a of timber or cast iron veranda posts, part of the deeper and more fundamen- brackets and frieze, together with an tal significance of the door.’44 Windows appropriate entrance at the junction of according to Kearney ‘could be looked gable and veranda in the asymmetrical at as deep cultural signs – indicators of front elevation. the attitudes of people to their wider The drawings in the ODC and the sur- environment; to nature and neighbour; viving suburban houses of the everyday to privacy and health; to energy waste are important as they convey translo- or eco-sensitivity; to theology and tech- cated British ideals and aspirations in nology.’45 In the absence of the veranda, the configuration of the plan and in the internal furnishings such as curtains and elevation to the street. They also reflect blinds were utilised to filter heat and technologies such as the kitchen range glare generated by the sun. and corrugated iron that negated the fire

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Natalia 49 (2019) CC-BY-NC cc Natal Society Foundation 2019 The gabled veranda house risk and ventilation problems associated of society so keenly, as in the change with cooking on an open fire, thereby from the veranda lifestyle to the burglar allowing the kitchen to be attached to guard aesthetic.’48 the back of the house in the form of the This is truer today than it was when ‘Natal back’. he addressed the architectural students The ODC also sheds light on the congress in 1987. Our colonial domestic changing technologies that occurred architecture, representing this veranda with the introduction of sewerage sys- lifestyle, is not only disappearing as a tems that facilitated adaptations of the result of neglect, at times willful, van- plan to accommodate the WC in the dalism and destruction, but if fortunate back of the house. enough to survive many of these houses If, as Biermann suggested, architec- are now hidden behind massive walls ture is the mirror of society, then the topped with razor wire or electrified drawings and gabled veranda houses fencing while the verandas, French survive as an important mirror to a past doors and sash windows are bricked up, society, tangible records of an architec- barred, mutilated and fortified. tural heritage worth preserving, if only as the last remaining vestiges of long- notes disappeared or no longer recognisable 1 Paul Oliver, Shelter and Society (London, Design Yearbook, 1969), p. 14; Paul Oliver homes that reflect the lifestyle of a (ed.), Encyclopedia of Vernacular Architecture bygone era. Furthermore, he postulated, of the World. Vol. 1: Theories and Principles ‘perhaps in no other stylistic change (Cambridge, Cambridge University Press, does one experience the truth of the 1997), p. 56. 2 University of KwaZulu-Natal, School of dictum that architecture is the mirror Built Environment and Development Studies,

438 Clark Road, Durban

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Technical Reference Library, Original Draw- 22 H.S. East, ‘South African planning and con- ings Collection. struction’ in Modern Buildings (1910), p. 158. 3 Jean Baudrillard, ‘The rise of the object: the 23 Anthony King, The : The Produc- end of culture’ in Mass, Identity, Architecture: tion of a Global Culture (Oxford, Oxford Architectural Writings of Jean Baudrillard University Press, 2nd ed., 1995), p. 265. edited by Francesco Proto (Chichester, Wiley- 24 Kearney, ‘Verandas’. Academy, 2006), p. 79. 25 Norberg-Schulz, The Concept of Dwelling, p. 4 Henri Lefebvre (translated by Christine Lev- 103. ich), ‘The everyday and everydayness’ Yale 26 Vellinga, Oliver and Bridge, Atlas of Vernacu- French Studies 73 (1987), pp. 7–11. lar Architecture of the World, p. 91. 5 Deborah Berke, ‘Thoughts on the everyday’ in 27 Kearney, ‘Verandas’. Deborah Berke, Architecture of the Everyday 28 Vellinga, Oliver and Bridge, Atlas of Vernacu- (New York, Princeton University Press, 1997), lar Architecture of the World, p. 91. p. 226. 29 Lewcock, Early Nineteenth Century Architec- 6 ibid. ture in South Africa, p. 130. 7 Brian Kearney, ‘Bundu style: picturesque 30 Brian Kearney, Rewarding Conservation architecture in Southern Africa’ Lantern (Durban, Conservation Awards Committee, September 1975, pp. 10–23. 1992), p. xi. 8 Christian Norberg-Schulz, The Concept of 31 Kearney, ‘The veranda house’. Dwelling (New York, Electra/Rizzoli, 1985), 32 Kearney, Rewarding Conservation, p. xi. p. 102. 33 Brian Kearney, A Revised Listing of the Impor- 9 Dennis Radford, ‘The detached kitchen: its tant Places and Buildings in Durban (Durban, occurrence in South African architecture’ City Council, 1984), pp. 17, 18. Restorica October 1984, pp. 18–27. 34 Kearney, ‘Verandas’. 10 Dennis Radford, ‘The pioneer Natal settler 35 Kearney, A Revised Listing of the Important house’ Natalia 28 (1998), pp. 34–44. Places and Buildings in Durban, p. 80. 11 Michele Jacobs, Rodney Harber and Brian 36 Norberg-Schulz, The Concept of Dwelling, p. Kearney, A Measure of the Past (Durban, 94. Durban Heritage Trust and the authors, 2015), 37 Kearney, A Revised Listing of the Important p. 12. Places and Buildings in Durban, p. 80. 12 Radford, ‘The detached kitchen’. 38 Norberg-Schulz, The Concept of Dwelling, p. 13 Radford, ‘The pioneer Natal settler house’. 96. 14 John Winter, ‘Working drawings’ Architect’s 39 Brian Kearney, ‘Apertures, voids, filters: Journal, 17 and 24 December 1986, pp. window design: a choice’ Building August 37–40. 1985, pp. 3–8. 15 Marcel Vellinga, Paul Oliver and Alexander 40 Georg Simmel, ‘Bridge and door’ in Rethink- Bridge, Atlas of Vernacular Architecture of the ing Architecture edited by Neil Leach (Lon- World (New York, Routledge, 2007), p. 90. don, Routledge, 1997), p. 67. 16 Brian Kearney, ‘Verandas’ Building 18 (Febru- 41 Simmel, ‘Bridge and door’, p. 68. ary 1989), pp. 9–19. 42 Kearney, ‘Apertures, voids, filters’. 17 Ronald Lewcock, Early Nineteenth Century 43 Norberg-Schulz, The Concept of Dwelling, p. Architecture in South Africa (Cape Town, 89. Balkema, 1963), p. 121. 44 Simmel, ‘Bridge and door’, p. 68. 18 Kearney, ‘Verandas’. 45 Kearney, ‘Apertures, voids, filters’. 19 Philip Drew, Veranda: Embracing Place 46 ibid. (Pymble, Angus and Robertson, 1992), p. 26. 47 Kearney, A Revised Listing of the Important 20 Brian Kearney, ‘The veranda house’ Lantern Places and Buildings in Durban, p. 80. 33(3) March 1974, pp. 46–48. 48 Barrie Biermann, ‘The South African lifestyle’ 21 Vellinga, Oliver and Bridge, Atlas of Vernacu- Unpublished notes for Symbiosis: Corobrik lar Architecture of the World, p. 91. Third National Architectural Students’ Con- gress, Durban, 13–17 April 1987.

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