Designing the South African Pavilion for World Expo 2020, Dubai UAE Taryn Val King © University of Pretoria © University of Pretoria Designing the South African Pavilion for World Expo 2020, Dubai UAE Taryn Val King 2016 © University of Pretoria If you have obtained this document digitally, please consider and respect the ongoing distribution thereof and the relevant copyrights with respect to the author and digital use there of [not printed], unless it serves a personal purpose. Please view as double page spreads [Adobe Acrobat Reader; View - Page Display - Two Page View] © University of Pretoria Designing the South African Pavilion for World Expo 2020, Dubai UAE A distillation of an alternative multicultural South African nation brand to be spatially transcribed into the South African pavilion at the Expo 2020, Dubai UAE. Taryn Val King Submitted in partial fulfilment of the requirement of the degree Masters in Interior Architecture, MInt(Prof) Faculty of Engineering, Built Environment & Information Technology University of Pretoria | Department of Architecture | December 2016 Supervisor: Catherine Karusseit Course Coordinator: Prof. Barbara Jekot © University of Pretoria DECLARATION Student number: 26100542 I declare that, [We Are] Designing the South African Pavilion for World Expo 2020, Dubai UAE, is my own work and that all sources that I have used or quoted have been indicated and acknowledge by means of complete references. _________________________ Taryn King 05 December 2016 ACKNOWLEDGMENT Opinions expressed in this dissertation and conclusions arrived at are those of the author and are not necessarily to be attributed to the University of Pretoria. I would like to thank Garth Walker of Mr Walker. formally Orange Juice Design for the access to and copies of the i-jusi magazines, the seminal informants of this studies branding narrative. Special thanks to Catherine Karusseit and Prof. Barbara Jekot for their guidance, contributions and patience as my supervisors. A final word of thanks to friends and family for all their help and support. i © University of Pretoria SUMMARY Title of dissertation: [We Are] Designing the South African Pavilion for World Expo 2020, Dubai UAE Name of student: Taryn Val King Supervisor: Catherine Karusseit Course Coordinator: Prof. Barbara Jekot Department: Architecture Degree: Masters in Interior Architecture, MInt(Prof) Summary: The ‘Beyond’ as Bhaba1 (1994:1) conceives it, is “neither a It is therefore the intention of this study to make use of Bhaba’s new horizon, nor a leaving behind of the past”; rather it is the (1994) theory of the ‘Beyond’ and his notions of Interstices and borders to the present. Cultural Hybridity as adjectives and means of complex culture production, introduced above, to propose an alternative These boundaries of the present are the “that from which multicultural South African identity to be spatially transcribed something begins its essential unfolding”, according to into the South African pavilion at the Expo 2020, Dubai UAE. Heidegger (1978:356). Unfolding as a consequence of the intersection of time and space, produces complex, as To this end, the study conducted a Hermeneutical, Social opposed to unitary or reductive, figures of difference and Visual Semiotic and Lexical analysis of I-JUSI, the selected identity in Bhaba’s (1994:2) view. hybrid culture. The results of the examination produced seven brand indicators. These indicators in conjunction with It is with these ‘complex figure of difference and identity’ which a set of design principals; established via a precedent study enact ‘hindsight’ to re-describe our cultural contemporaneity; of artifacts, interiors, buildings and landscapes that explored to re-inscribe our human, historic commonality, that this or expressed the nation’s new emerging collective national study is interested in. Within the context of nation branding, identity, will be used to spatially embody the design concept these figures offer an alternative to the archetypal western for the pavilion. approach to identity construction. The western approach to nation branding is based on two ‘We are [in Full Colour]’ critical assumptions; firstly, that modern nations are composed of homogeneous societies, and secondly, that these societies The ‘Moment’, that the concept intends to create share a common culture. for every visitor is the experience of themselves, as It is here that the problem lies, for at its essence, South Africa they would appear if they were a South African. is pluralistic. We are a multicultural rainbow nation. We do not As if they too were more complex and layered in have typical shared myths, historical memories and a mass character as a result of growing-up and living in a public culture due to historical and more recent political struggles within our country. Consequently, we do not follow country as diverse as ours. the typical western approach to nation branding. Key Terms Architecture, Interior Architecture, Nation Branding, Alternative Identity construction, Collective National Identity, World Expo. © University of Pretoria ii iii © University of Pretoria OPSOMMING Titel van verhandeling: [Ons Is] Ontwerp die Suid-Afrikaanse paviljoen vir World Expo 2020, Dubai UAE Naam van student: Taryn Val King Promotor: Catherine Karusseit Kursuskoördineerder: Prof. Barbara Jekot Departement: Argitektuur Graad: Meestersgraad in Binne-argitektuur, MInt(Prof) Opsomming: Die “Anderkant” (1994:1) soos Bhaba dit verstaan, is nie ‘n Die doel van hierdie studie is dus om gebruik te maak van “nuwe horison” maar ook nie “ ‘n vergeet van die verlede” nie, Bhaba (1994) se teorie van die “Anderkant” en sy nasies dit is liewer die grense van die huidige. van tussenruimtes en kulturele hibridisasie as byvoeglike naamwoorde, en wyses van kompleks kultuur produksie, soos Hierdie grense van die huidige is “dit wat waarvan iets hierbo bekendgestel, om ‘n alternatiewe multikulturele Suid sy noodsaaklike ontplooing begin”, volgens Heidegger Arikaanse identiteit voor te stel en om die studie op ‘n ruimtelike (1978:356). Ontplooing, as ‘n gevolg van die kruising van tyd wyse op skrif te stel binne die Suid Afrikaanse Paviljoen by die en ruimte, skep komplekse beelde in kontras met die unitêre “Expo 2020, Dubai UAE”. of reduserende, beelde met verskille en identiteite uit Bhaba (1994:2) se oogpunt. Vir hierdie doel omvat die studie ‘n hermeneutiese, sosiaal visuele semoitiese en leksikale analise van l-JUSI, die verkose Dit is met hierdie “komplekse beeld van verskil en identiteit” hibried kultuur. Die resultate van die ondersoek het sewe wat “nawete” implementeer dat ons ons kulturele handels indikators gewerf. Hierdie merke, tesame met ‘n stel tydelikheid kan her-definieer; om ons menslike, historiese ontwerp beginsels ,het deur middel van ‘n presedent studie ooreenkomste te her-graveer, dit is die studie waarmee ons van artefakte, interieurs, geboue en landskappe wat die nasie onself mee bemoei. Binne die die begrip van handelsmerking se nuwe ontluikende kollektiwe persoonlike identiteit uitdruk, bied hierdie beelde ‘n alternatief tot die argetipiese westerse gaan gebruik word om die ontwerp konsep van die pawiljoen benadering tot identiteits konstruksie. ruimtelik uit te druk. Die westerse benadering tot handelsmerking is gebaseer op twee kritiese aannames: eerstens, dat moderne nasies van homogene samelewings saamgestel is, en tweedens, dat ‘Ons is [in Volkleur]’ hierdie samelewings ‘n algemene kultuur deel. Dit is hier waar die probleem lê, want Suid Afrika is wesentlik Die “Oomblik” wat die konsep poog om uit te druk pluristies. Ons is ‘n multi-kulturele reënboog nasie . Ons besit nie vir elke besoeker is die self-ervaringe, dit moet voel tipiese legendes wat gedeel word onder ons nie en historise herinneringe en ‘n massa publiek as gevolg van historiese en asof hulle Suid Afrikaners is, meer karaktervol le en meer onlangse politiese stryd in ons land. Dus as ‘n gevolg, komplekse mense omdat hulle hier opgegroei het volg ons nie die tipiese westerse benadering tot nasie en lewe in ‘n ‘n land so divers soos ons land. handelsmerking nie. Key Terms Argitektuur, Binne-Argitektuur, Nasie Branding, Alternatiewe Identity Konstruksie, Collective Nasionale Identiteit, World Expo. © University of Pretoria iv Table of Contents Table of Contents Declaration .................................................................................................... i 3.1.3. Distilling the Hermeneutical, Social Visual Semiotic & Lexical Analysis ........................................................................38 Acknowledgment ......................................................................................... i 3.1.4. Identification of core values ..................................................42 Summary ........................................................................................................ii 3.2. Conclusion ...................................................................................43 Opsomming ................................................................................................. iv Finding the Middle Ground .....................................................45 Part 01. Seeking a Cultural Identity ........................................................1 Part 03. 4. PRECEDENT STUDIES .....................................................................46 1. INTRODUCTION .............................................................................1 4.1. Handiwork, Craft and Art ...........................................................46