2013 On Site Review Report

by Jean-Charles Tall

Mapungubwe Interpretation Centre

Limpopo, South Africa

Architect
Peter Rich Architects
Client
South African National Parks
Design
2006 - 2007
Completed
2009

3953.SAF

Mapungubwe Interpretation Centre

Limpopo, South Africa

I.

Introduction
The Limpopo Valley may be one of the most remote and isolated places in South Africa. The huge
Mapungubwe National Park is located at the confluence of the Limpopo and Shashe Rivers. Thispark
is a property of the South African National Parks authority (SANParks) who commissioned the
Interpretation Centre which celebrates the ancient civilisation of Mapungubwe, linked to the Great
Zimbabwe. The rocky landscape is a result of geological events that reshaped the area. At that time
the course of the Limpopo River was also changed; from going towards the Atlantic Ocean it now
headed towards the Indian Ocean.
The vegetation is that of a dry area with mopane and baobab trees, and could easily be likened to a
hilly savannah. Understanding the landscape is essential to the Mapungubwe Interpretation Centre
as the whole design and architecture of this building is focused on its integration into the natural
landscape of the park.
The Interpretation Centre is located past a pond, on the side of a mesa that sisters the main mesa of
the Heritage Site, the ceremonial centre of the Mapungubwe civilisation, one kilometre away, close
to the entrance to the park.
Peter Rich, head of Peter Rich Architects, has taught architectural theory and design for three
decades at the University of the Witwatersrands Department of Architecture in Johannesburg. He
partnered with Michael Ramage and John Ochsendorf for the Mapungubwe Heritage Centre.

II.

Contextual Information

A.

Brief historical background

The Limpopo Valley is located in the north of South Africa at the confluence of South Africa,
Zimbabwe and Botswana. The Mapungubwe civilisation is a kingdom dated between 1075 and the
14th century. We have very little information about this kingdom since there is no written
documentation about it and the oral traditions of the region do not mention it.
The site was discovered in 1933; it was declared a World Heritage Site in 2003, as a Cultural
Landscape. The landscape is characteristic of a savannah with mopane trees, huge baobabs and
thorny trees forming the vegetal cover that is intricately tied to the rocky sandstone formations all
around.
The Mapungubwe civilisation produced historical artefacts that show the brilliance of this
civilisation and its commercial links to Egypt and Asia. The famous Golden Rhino was discovered
on the historical ceremonial mesa of Mapungubwe National Park.
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B.

Local architectural character, including prevalent forms and materials

It is very difficult and tricky to relate Mapungubwe to any existing form of architecture nearby.
There are no inhabitants close to this area; this huge reserve is totally free of any human presence.
After flourishing for centuries, the area has been long abandoned.
However, different ethnic groups of the region claim traditional ownership of the land. This became
a serious issue for the project which the architects had to confront by ensuring that their building did
not refer to any one particular group, as this would have raised controversy.

C.

Climatic conditions
It is located at 2923E and 2219S; the site is in a semi-arid climate.
Maximum temperatures average between 25C (June) and 32C (January). Peaks occur in summer
(45C). Minimum temperatures average between 9C (June) and 21C (January).
Annual rainfall is around 400 millimetres and there are approximately 10 rainy days a year. At the
time of the visit, there had been flooding after heavy rainfalls, occurring after a two-year period of
draught.

D.

Immediate surroundings of the site

The project site is empty of human presence. The nearest inhabitants are those from game farms,
several kilometres away.

Topography
Mapungubwe sits between 300 to 780 metres above sea level. The site is very rocky and hilly, the
result of important seismic movements that even changed the direction of the flow of the Limpopo
River from towards the Atlantic Ocean to the Indian Ocean. The sandstone rocks are everywhere in
the environment and form the specific nature of the area, together with the baobab and mopane trees.

III.

Programme

A.

History of the inception of the project

The pre-existence of traditional African states and kingdoms has always been a very controversial
issue in South Africa during the time of Apartheid. However, when this regime ended, the South
African government decided to emphasise the legacy of those kingdoms. Research that had been
halted or simply not taught resumed, and the government decided to revive these studies. When
the area was granted World Heritage status in 2003, this boosted the policy to develop Mapungubwe
and the Interpretation Centre followed as a result.

Construction took place between October 2007 and June 2009, while the official opening was
celebrated in December 2009.
B.

How were the architects and specialists chosen?

SANParks launched a national design competition in 2005. Peter Rich won this architecture
competition and was commissioned in December 2005. The design started in March 2006 and was
completed by August 2007. Peter Rich partnered with Michael Ramage of the University of
Cambridge (UK) and John Ochsendorf of the Massachusetts Institute of Technology in Boston
(USA) to develop the conceptual vault design.

C.

General programme objectives

The objective was to provide the National Park with an Interpretation Centre that could give the
visitor a very clear understanding of the importance of Mapungubwe in this region.

D.

Functional requirements
The general programme was very precise, and the architect also had to devote much attention to the
social and political environment. The Interpretation Centre is composed of a museum, including an
introduction hall where the general history of Mapungubwe is told with information on the context,
different rooms hosting exhibits of the artefacts found in Mapungubwe, the history and social
organisation of the kingdom and a sacred place dedicated to remains found in the area.
Facilities were developed for the visitor (coffee bar, restaurant, shop, etc.).
Offices for SANParks are included within the complex. The building, of course, had to take into
account the climate of the region and the arid conditions.
An outdoor amphitheatre and facilities for researchers are included in the programme.
Different tribal claims on the land also made it difficult to relate to one particular group in the region.
The architect had to be very careful to avoid any potential controversy in his proposals.

IV.

Description

A.

Building data
The ground floor is 1,130 square metres, while the total area is 2,750 square metres.
The Centre sits on the side of a mesa. It is formed of a series of vaulted forms linked by outside areas
in a combination of ins and outs. Access to the Centre is via a small bridge, which also gives the
first indication about the ideas behind the massing of this project: to keep the ground untouched in
respect for the sacred nature of the site.
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The project itself is a series of vaulted forms of different sizes and structures built in light earth
bricks and covered with sandstone. All the vaults are just laid on the hillside with complete respect
for the natural environment. No big earth-moving works or embankment projects were carried out.
The different parts of the programme were just laid on the hillside as though it might have resulted
from a natural geological event.
B.

Evolution of design concepts

1.

Response to physical constraints

The design started with an equilateral triangle that defines a route climbing through the buildings to
the top of the hill. The vault system was made of several layers of thin earth tiles assembled with
mortar gypsum. Stones were used as a covering layer of that structure.
The global conductivity of this layer is very low and very efficient in terms of controlling heat
transfer towards the interior. But more important is the general thermal slowness resulting from such
a massive structure. This creates a phase shift in temperature that allows self-regulation. Basically,
the heat accumulated in the walls during the day will be transmitted at night and the low outside
temperature during the night will result in cooler temperatures inside the building during the day.

2.

Response to user requirements

Spatial organisation is very simple. The SANParks administration offices are located at the
beginning of the scheme. Then a first bridge leads the visitor to the Interpretation Centre itself. A
series of outdoor spaces is the first impression he gets, while these spaces connect different vaults to
create a combination of patios.
The entrance to the interpretation rooms is unique because of the indoor/outdoor feeling created by
the second bridge towards the first hall. The different rooms are then organised as a series, letting the
visitor circulate smoothly from one area to another and experience different degrees of the sacred
environments while moving further into the Centre.

3.

Purely formal aspects

The formal aspects constitute an important feature of the project. At no point does the Interpretation
Centre look like a building in this context. It is basically designed like another stone hill within a
context of stone hills. The building is integrated in such a way that, at first sight, it is not very easy to
spot when arriving from Johannesburg.
The lighting on the vaults also provides a very unique experience of the project.
There is no prevalent facade for this project. Each point of view around the building gives the
impression of integration into the site while offering a distinct experience of the architecture.

No traditional decorative motifs were used, due to the necessity of avoiding any local tribal reference
and the choice of completely integrating the building into the natural environment.
However, it is important to mention the two huge decorative openings. The one on the west side of
the building bears recycled copper bars that glow a dramatic golden colour at sundown. The one on
the southern side of the main exhibition hall is decorated like a stained-glass window with simple
techniques.
4.

Landscaping
There has been no special landscaping. The natural environment is the landscape. Therefore, the
architect decided to respect it and to integrate the building into the dramatic existing landscape of
stones and hills.

C.

Structure, materials, technology

1.

Structural systems
The structural system of the vaults is impressive. This is a revival of a 700-year-old vaulting system
of the Mediterranean area. These vaults are footed on thick sandstone walls stressed in compression.
The largest vault spans 14.5 metres with a thickness of 30 centimetres. The vaults are made of thin,
non-fired stabilised-earth tiles. They form a double curved structure that was constructed with
minimum formwork.
Barrel vaults are used as formwork for the horizontal slabs.
The whole design was based on static graphics, allowing a continuous review of the shapes of the
vaults while resolving the structural problems.
The stress in compression is very low. The parabolic forms allow this stress to be transferred
vertically to the walls. Horizontal thrust is, of course, much higher and is resolved on the largest
vaults with steel tension ties embedded into buttresses.
Computer calculations have been very helpful in finalising the structural system of vaults.

2.

Materials
Structural members
x concrete structure and slabs;
x sandstone walls;
x stabilised-earth bricks;
x diverse recycled materials (metal poles, etc.)

Infill materials
x brick walls, with aluminium window;
x recycled plastic sheets;
x glazing
Renderings and finishes
x earth tiles;
x cement plastering;
x recycled copper bars;
x recycled plastic sheets
3.

Construction technology
The vaults system used in the building is brand new to the South African context. Consequently it
was necessary to train unemployed women of the villages next to the site in how to produce earth
bricks Then, finally, unemployed men were trained to construct the vaults.
Training was conducted by the members of Peter Richs team themselves.
There is an extensive use of bamboo and recycled materials for other parts of the building. The
recessed vaults are used as a permanent formwork for the concrete slabs.
Walls are built in dry stone using the traditional techniques of the Ndebele people of South Africa.

4.

Building services, site utilities

Electricity is provided on site as well as water. The sewerage system is an individual one,
specifically designed for the project.
It is notable that, in addition to the thermal characteristic of the building developed through the
architecture and the nature of materials (thermal slowness), the architect designed a specific
evaporative cooling system for the project. This system uses a specific feature of thermal exchanges
in construction that is called maximal evaporative capacity of the air. The system is used in the
SANParks office whereas the curators of the main exhibition halls decided that additional air
conditioning was needed there for the sake of the artefacts.

D.

Origin of

1.

Technology
Developed on site (testing, training and operation).

2.

Materials
Local

3.

Labour force
Local

4.

Professionals
Architects:
Contractors:
Consultants:

South Africa
South Africa
USA/Great Britain/New Zealand/Switzerland/South Africa/others

V.

Construction Schedule and Costs

A.

History of project design and implementation

Competition:
Design:
Construction:
Opening:

B.

December 2005
March 2006August 2007
October 2007June 2009
December 2009

Total costs and main sources of financing

USD 1,875,000.

C.

Qualitative analysis of costs

USD 681/m2 funded by SANParks.

D.

Maintenance costs
Not known.
From the analysis of the construction we can foresee very low costs of operation and maintenance in
the context of Mapungubwe climate.

VI.

Technical Assessment

A.

Functional assessment
The different spaces of the building are very well arranged and provide quick access and
understanding of the spatial organisation. The hierarchy in light treatment increases the dramatic side
of the procession towards the sacred. The other functions of the site are nicely disseminated and the
use of interspaces as functional spaces delivers a great architectural ensemble.

B.

Climatic performance
All provisions for lighting, climatic performance, heat control, acoustics and other systems are
achieved through natural control. Natural lighting is ensured through windows and oculi that give to
each space a particular type of lighting in relation to its function.
Heat control is essential in this area and it is performed here with great efficiency. The shape of the
vaults, designed from paraboloids, creates a good balance of sound and the sandstone walls and brick
vaults associated to the volumes created ensure a delicate reverberation time that towel suits the
solemnity of the exhibition spaces.

C.

Response to treatment of water and rainfall

A system of waste-water treatment has been installed. The annual rainfall (10 days a year) is not
significant enough to justify the installation of retention systems.

D.

Environmental response
This project is all about adapting to its context. It readapts the general responses of nature to the
constraints of a particular human project.
The vaults perfectly fit into the general hilly and undulating landscape and their covering materials
have been extracted from the site. The interior space designed by this project is like a series of
caverns that react to the climatic constraints exactly the way a real cavern would. The structural
constraints of a cavern are reproduced in a way to serve the architecture of the Centre. The answers
of nature to its constraints is generally very efficient in terms of economy (the quantity of energy
developed vs. the goal to reach). The Interpretation Centre goes in that direction.

E.

Choice of materials, level of technology

The main materials were extracted from the site, manufactured on site or recycled from waste. 85%
of materials are local. The result is a very empowering technology that was easy for the local
unemployed people to acquire. In fact, unemployed women (manufacturing bricks) and men
(structural works) benefitted from the training to acquire skills and actually use them to build the
project.
The technology is both simple and sophisticated: simple because this is basically an application of
static principles and the renewal of an ancient technique; and sophisticated, because the technique
allows a degree of freedom in the design of the Centre that could only be achieved with concrete
structures (30% more expensive and with the disadvantages of using concrete in such a climate).

F.

Response to, and planning for, emergency situations

The recent flood occurring in the region after two years of drought hit the building and caused no
noticeable leaks. We are not aware of other emergency situations. We foresee that the structures will

perform well in the case of fire. It has also suffered several seasons of wind and this did not cause
any damage to the structure.
G.

Ageing and maintenance problems

Ageing should not be a problem provided the building is properly maintained, which seems to be the
case up to now. Buildings of this type have lasted for centuries without any major damage.

H.

Design features
The design of this building is a lesson in architecture. The integration of the masses to the site
environment, the structural response to the construction constraints, the articulation of inner and
outer spaces are all of very high quality. There are no neighbouring buildings.

I.

Impact of the project on the site

The project raised a lot of interest in this area. This can be measured by the number of different
websites of safari organisers who sell the Mapungubwe Interpretation Centre as a must see,
exactly the way they sell the site itself. We were told by some professionals met on the site (game
farmers, restaurant owners, guides, etc.) that since completion of the building they have noticed a
growing interest in Mapungubwe.

J.

Durability and long-time viability of the project

The building is designed and will remain as an icon for the Mapungubwe Heritage Site. I anticipate
an increasing interest in the park as the Interpretation Centre becomes better known to the
professionals and the public.

K.

Interior design and furnishing

Interior design for the exhibition is of great quality and facilitates the presentation of collections of
artefacts. The last room of the centre (sacred remains room) is designed in a dramatic way that helps
heighten the tension of the visiting experience.

VII.

Users

A.

Description of those who use or benefit from the project

Sixty unemployed low-skill people hired on the site worked through the government-funded poverty
reduction programme received training in how to manufacture bricks.
A hundred people were trained for the construction works, while the site works continuously used an
average of 10 to 40 people at the same time during the eight months of construction. They were able
to find a job on the site from this training. After completion of the project, six small-size companies
9

were created by the workers. The architect Peter Rich has just been commissioned for the entrance
gate of the relatively nearby Kruger National Park and he is going to use these now-skilled workers
for the project since they are already active in the region.
B.

Response to project by clients, users, community, etc.

1.

What do architectural professionals and the cultural intelligentsia think about the project?
The project is highly regarded by architects, not only in South Africa but in the African region and
all over the world. It has gained several prizes since its completion, amongst which:
x World Building of the Year, World Architectural Festival, Barcelona, October 2009
x World Building, Culture Category winner, World Architecture Festival, Barcelona, October 2009
x David Alsop Sustainability Award
x British Structural Awards, 2009
x The Institute of Structural Engineers
x South Africa Absolut Visi Designer of the Year, 2009
x Wienerberger Brick Award, 2012

2.

What is the popular reaction to the project?

Many articles in South African and American newspapers emphasise the quality of the work of Peter
Rich on the Mapungubwe Interpretation Centre.

3.

What do neighbours and those in the immediate vicinity think about the project?
The people we talked to in the Limpopo Valley were mainly game-farm owners, officers of the park,
some tourists. They all praised the quality of the design and construction.

VIII.

Persons Involved
Architect:
Designers and structural engineers, tile vaults:
Architect:
Structural engineer, overall project:
Vault construction training and supervision:
Contractor and quantity surveyor:

10

Peter Rich
Michael Ramage and John Ochsendorf
Timothy Hall
Henry Fagan
James Bellamy
Usna Bouer and DHR

IX.

Bibliography
List of publications
Amongst others:
x Mapungubwe Interpretation Centre/Peter Rich Architects, ArchDaily, 21 Apr 2010.
x Mapungubwe Interpretation Centre by Peter Rich Architects, Mapungubwe National Park, South
Africa, The Architectural Review, 1 February 2010.
x Mapungubwe Interpretation Centre, Designboom, 2 May 2013 and 5 November 2009.

Jean-Charles Tall
April 2013

11

The Mapungubwe civilization is a kingdom dated between 1075 and the 14th century. The site was
discovered in 1933. It was declared a World Heritage Site in 2003, as a Cultural Landscape.

The landscape is characteristic of a savannah with Mopane trees, huge baobabs and thorny trees forming
the vegetal cover that intricates with the rocky sandstone formations all around.

The Interpretation Centre is composed of a Museum including an introduction hall, different rooms and
a sacred place dedicated to remains found in the area.

The project itself is a series of vaulted forms of different sizes and structure built in light earth bricks
and covered with sandstone.

The centre is formed of a series of vaulted forms linked by outside areas in a combination of ins and
outs.

Access to the Centre is a small bridge that gives the

UVWLQGLFDWLRQDERXWWKHPDVVLQJRIWKHSURMHFW

An outdoor amphitheatre and facilities for researchers

are included in the program.

7KHODUJHVWYDXOWVSDQVPZLWKDWKLFNQHVVRIPP7KHVHYDXOWVDUHPDGHRIWKLQQRQUHGVWDELlized earth bricks. They form a double curved structure that were constructed with minimum formwork.

the general history of Mapungubwe is told with

information on the context, artefacts found in
Mapungubwe, history and social organization of
the kingdom.

All provisions for lighting, climatic performance, heat control, acoustics and other systems are achieved
through natural control.

3953.SAF
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Document B

ARCHITECTS RECORD
2013 AWARD CYCLE
1.

IDENTIFICATION
[Name of project. If the project has been known by a different or previous name, please indicate this in brackets. Please provide
the actual street number or location of the project, even if the correspondence address is different.The longitude and latitude are
required so the project can be documented on Google Maps.]
Project Title: Mapungubwe Interpretive Centre
Street Address: Mapungubwe National Park
City: Limpopo Province
Longitude: 29.2389 E

II.

Country: South Africa

Latitude: 22.1925 S

PERSONS RESPONSIBLE:
A.Architect/Planner
[Name and address of architect(s), architectural firm(s), or other person(s) responsible for the project; for joint projects, be sure
to indicate the name of the principal designer(s) at the end of this section. (Other project staff should be listed as project affiliates
in section C of the record.)]
Name : Peter Rich Architects with Michael Ramage and John Ochsendorf
Mailing address : 9 Escombe Ave, Parktown
City : Johannesburg
Postal code : 2193
South
Africa
Country :
Telephone : +27 (11) 726 6151
Facsimile :
Email : peter@peterricharchitects.co.za
Principal Designer. Peter Rich
Website : http://www.peterricharchitects.co.za

B.Client
[Name of the individual, company or institution who commissioned the project. If the project owner is different from
the client, or if the current users of the building are not the client, please note their name(s) as project affiliates in
section C. If the main client is the local, regional or national government, please indicate the responsible
government ministry or department. Where known, please indicate the name of the individual responsible within the
ministry or department.]

Name : Antoinet van Wyk, General Manager: Infrastructure & Special Projects, South African National Parks
Mailing address : PO Box 787
City : Pretoria
Postal code : 0001
South
Africa
Country :
Telephone : +27 (012) 426 5126
+27
(012)
426
5446
Facsimile :
Email : Antionetv@sanparks.org

C.Project Affiliates/Consultants
[Please list the other key people involved in the project and indicate their roles and responsibilities, e.g. engineers,
consultants, contractors, economists, master craftsmen, technicians, site supervisors, other architects, clients, etc.
who have played a significant role in the project. Please cite their addresses and contact details on a separate
sheet.]
Name
Michael Ramage and John Ochsendorf

Role
Designers and Structural Engineers,
tile vaults

Timothy Hall

Architect

Henry Fagan

Structural Engineer, overall project

James Bellamy

Vault construction training and

supervision

Usna Bouer and DHRC

Contractor and Quantity Surveyor

3953.SAF
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III.

TIMETABLE
[Please specify year and month for both commencement and completion of each step in the design and construction
processes. For large projects, or for those completed in phases, indicate the dates for the first phase and for each
subsequent phase, and clearly note which phases of the project have been completed.]
Competition Dec 2005

A.Commission
B.Design

Start March 2006

Completion August 2007

C.Construction

Start October 2007

Completion June 2009

D.Occupancy

Official Opening 09/12

Remarks:

IV.

AREAS AND SURFACES

[Please specify in square metres.The total combined floor area should include basement(s), ground floor(s) and any
and all upper floors. If you wish to provide details for any particular elements within the overall project, please use
and attach a separate sheet.]
A.Total site area
B.Ground floor area

Not known; land is part of a National Park

1130 m2

2750 m2
C.Total combined floor area
(Including basement(s), ground floor(s) and all upper floors)
Remarks:

V.

ECONOMICS
[Specify the amount, currency and date of transaction. Please indicate the amount both in U.S. dollars and in the local
currency, along with the exchange rate used.]
Amount in local currency

Amount in US dollars

A.Total initial budget

B.Cost of land

Not known

C.Total actual costs

(Without land)

16,450,000 ZAR; USD 1,875,000 (Google currency conversion 09/10/2012)

D.Actual cost
(Per square metre)

5,981 ZAR/m2; USD 681/m2

Remarks:

3953.SAF
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VI.

PROJECT DESCRIPTION
[Describe the nature and function of the project. For example, how did the project come about; what was the initial
brief from the client; what is the guiding idea behind the project; were there any major constraints on the development
of the design? How do you move through the building and how does it relate to its surroundings?]
The Building and Programme Description
Sited at the confluence of the Limpopo and Shashe Rivers, the Mapungubwe National Park celebrates the site of an
ancient civilization linked to the Great Zimbabwe trading culture in the context of a natural setting that re-establishes the
indigenous fauna and flora of this region.
The dramatic rocky landscape of the park is a result of violent geological events that resulted in the Limpopo River
changing its course from flowing into the Atlantic Ocean to discharging into the Indian Ocean. Sandstone formations,
mopane woodlands and unique riverine forest and baobab trees form the astounding scenic backdrop for a rich variety of
animal life. Elephant, giraffe, white rhino, eland, gemsbok and numerous other antelope species occur naturally in the
area.
Archaeological finds of gold, beads and Ivory have provided unequivocal evidence of the presence of a
technologically advanced ancient civilization. The area was inhabited by a growing Iron Age community from 900 AD that
became rich through trade with faraway places including Egypt, India and China. Here on Mapungubwe Hill the famous
Golden Rhino was found an iconic intricate golden object that has become emblematic of the greatness of southern
Africa before colonialism. The site became one of national and historical significance and was awarded World Heritage
status.
The Interpretation Centre is located close to the park entrance, set against the side of a mesa. The ceremonial centre
of this civilization is located on a sister mesa one kilometer away from the site, and is the visual climax of the architectural
experience orchestrated by the design of the Centre. Numerous contesting land claims from different tribal groups were
lodged which made cohesive community consultation difficult. Overt reference to any tribal vernacular was ill advised in
this context. As a result Peter turned to the dramatic and complex landscape for inspiration, which also became the
source of most of the materials for its construction. The resulting composition of structures is authentically rooted in their
location.
An equilateral triangle provides the primary ordering of the building defining a route that climbs the hill gently, ramping
through the building and up to the top of the mesa. This underlying order is a subtle reference to triangular motifs etched
on stones uncovered on Mapungubwe Hill. The heart of the Interpretation Centre is visually contained by hollow domed
cairns that mark changes of direction evoking route-markers found in Southern African cultures.
Inspired by the economy found in nature vaulted forms are adopted a simple expression of natural forces and
materials. The vaults delicately rest in the undulating landscape and billow, exposing the arched edges of their thin
shells, an analogy to the archaeological revelation of past cultures. Three vaults are explored a rectangular large span
vault (15m x 8 m), a domed vault (topping the round cairns) and a low arched vault (built as permanent formwork for floor
slabs above). These are choreographed to create a series of wonderful sacred cave-like interior spaces and well-defined
external areas containing exhibition and learning spaces. Africans believe in the veldt being a place of danger and
fertility. Here the buildings envelop external spaces creating shelter and safety.
The domical language of vaults is contrasted by the delicate walkways that create a zigzagging ramped route through
the complex. The visitors first view, across a seasonal stream, is of the chameleon-like vaulted forms springing directly
from the land on robust buttresses. Volumes are linked by terraced seating, contrasting the structured horizontality of the
contours with the diaphanous domes and arches. The surfacing of all of the masonry in local rubble stone creates a
timeless quality, as if they had erupted from the earth in a geological event similar to that which created the mesas of the
site and Mapungubwe Hill.
The route provides the visitor with a multiplicity of experiences, evoking the complex social interactions of the many
cultures that have traversed the site. The strong southern light is tempered by rusted steel screens that echo the network
of branches of indigenous trees; horizontally slatted natural timber evokes traditional shade structures. The arrival point is
marked by the first of the hollow cairns, lit by an oculus that reveals the path of the sun.
The experience of the internal exhibition space is cavernous and bathed in half light, articulated by the exposed tiles
made from the local soil. Light is filtered through fused coloured glass, with dappled patterns reflected from the ponds
that cool the air that naturally ventilates the buildings. The termination of this central space is a second cairn,
representing the sunset and housing the golden rhinoceros that has become a Southern African icon. Visitors have a
choice of route: ramp and stair, internal and external, to move into the upper levels of the vaulted spaces. The route
continues outside crossing terraced and covered spaces, leading up the mesa to the highest part of the site and affording
a view across a flat expanse to Mapungubwe Hill in the distance, with its backdrop of the Limpopo River.
The projects agenda extends beyond the presentation of ancient and more recent history of the area to awaken an
understanding of the vulnerability of the local ecology. The problem of a remote site coupled with a high local
unemployment rate and complex contesting tribal land claims also had to be taken into account.
These are manifested in the choice of technology, the language of the building, the materials and construction
process in which unemployed local people were trained in the manufacture of stabilized earth tiles and in building the tile
vaults. The resulting knowledge has been accepted into the culture of the region. Thus, the Centre is not only emblematic
of the site, Africa and its unique place in the origin of the world, but also has become part of a story that is still unfolding,
of culture developing in symbiosis with its natural legacy.

3953.SAF
Add the Project code number HERE
VII.

MATERIALS, CONSTRUCTION AND TECHNOLOGY

[Describe the principal materials used and indicate the basic construction technology. What are the innovative
features of the project, if any?]
The vaulting, designed and developed in collaboration with Michael Ramage of the University of Cambridge and John
Oschendorf of MIT, extends the Valencian tradition of tile vaulting, a 700-year-old construction system (believed to have
originated in North Africa), to create lightweight and durable buildings from thin soil-cement bricks. Load-bearing masonry
is used to construct roof vaults achieving high structural strength with minimal material. The largest free-form vaults span
14.5m with an unreinforced masonry vault of 300mm thickness. Fired-clay bricks are replaced with less energy intensive
stabilized earth tiles, which have a well-established tradition in sustainable practice in Southern Africa. In addition to
being structurally efficient, elegantly simple and environmentally sustainable, tile vaults have great advantages for
construction in developing areas. When compared to conventional construction, this system offers material and financial
savings, waste reduction, and local employment with transferable outputs and skills for future projects.
For this project, structural masonry of tile vaults is introduced to South Africa, for the first time combining tile vaulting
with locally made stabilized earth tiles that have a low embodied energy. The lack of steel reinforcement simplifies
construction, lowers cost and reduces embodied energy. The vaults are built with minimal support, saving time, money
and resources on formwork. The Centre represents a significant step forward in developing innovative structures and
materials for sustainable construction.
The tile vaults at Mapungubwe are doubly-curved structural masonry shells that were built with minimal formwork. The
museum complex includes ten free-form vaults, the largest of which spans 14.5 meters, and a number of regular barrel
vaults and domes used as permanent formwork for floor slabs. The structural form of the building was designed using
computational analysis - with innovative equilibrium methods based on graphic statics, allowing the structural engineer to
continually relate the forces in the structure to its form. During the course of the design development the initial sketches
evolved from single curvature barrel vaults to doubly curving parabolic structural forms.
From an engineering perspective, computational techniques are used to determine the structural geometries for the
vaulting. This ensures that adequate safety factors can be achieved for unreinforced thin shells constructed with low
strength tiles. By avoiding the need for reinforcement, the process of construction is simplified, the cost of imported
materials is lowered, and the embodied energy of the building is reduced.
The shells have low stresses of about 1.5 MPa acting in compression only, and the soil-cement tiles have an average
strength of 5 MPa. The three-dimensional thrust surfaces are based on two dimensional thrust lines cut through the high
apex which are then aggregated perpendicularly to span across the lower eyebrow vaults. The initial geometry was
determined with a two-dimensional interactive thrust line analysis. Finally, thrust network analysis was used to verify the
three-dimensional equilibrium.
The lateral thrust of the vaults is highest across the eyebrows because they aggregate the loads across the long
span. In the biggest vaults the horizontal thrust can be as high as 400 kN. The thrust is resolved with steel tension ties
embedded in reinforced concrete buttresses. The thrust across the longer span is resisted and transferred to the ground
by the buttresses. Steel tension ties across the barrel vaults (which are acting as permanent formwork for floor slabs)
resolve a thrust of 125 KN per meter of vault.
After using the dead and live loads to develop the initial structural geometry, reasonable asymmetric loads are applied
to determine the thickness and degree of curvature for the vaults. Here a compressive solution is adopted that lies wholly
within the thickness of the masonry. The areas of highest compressive stress are checked against the material strength
of the tiles to make sure there is a sufficient margin of safety. The vaults become more stable with greater load on them,
so the stone that had to be removed from the site was broken into small pieces and used as ballast providing protection
to the waterproofing layer, helping the building blend into the surrounding landscape, and ensuring that gravity loads are
dominant over wind loads. Using what could have been a waste product had significant architectural and structural
benefits.
Mapungubwe is a remote site more than six hours drive from Johannesburg, so building with local materials and local
labor made economic and ecological sense. Three primary tasks comprise the vault building: tile-making, guide work
construction, and tile laying.
The client, SANParks, managed the process of tile-making in the year prior to construction of the vaults using
government poverty-relief funding, while the guide work carpentry and vault masonry construction was managed by the
general contractor. In both construction processes low income, low skilled and unemployed local labour was used.
Tile vaults rely on fast-setting gypsum mortar and thin tiles laid on edge. This Mediterranean vaulting method is not in
common use today, but between 1880 and 1960 over 1000 buildings in North America were built this way by the
Guastavino Company. The tiles are stuck together using limited structural formwork and geometrical guide work only to
define the shape. The rapid set of the mortar and the structural shape allows the mason to span between guides, relying
on structural action to develop while the building is under construction. This building system could have an important
future in southern Africa and other areas of the world where labor costs are relatively low in relation to material costs. The
vaulting is usually made from thin fired bricks or tiles, joined together by gypsum mortar and Portland cement. A typical
vault is 3-4 layers of tile thick with the first layer bonded by gypsum mortar and subsequent layers with Portland cement.
At Mapungubwe earth tiles are used instead of fired clay tiles. While stabilized earth has a well-established tradition
with close links to sustainable practice (pioneered by Peter Rich Architects' work with Hydraform), at Mapungubwe it is
used to create sophisticated engineered forms through the adaptation of a simple hand press to manufacture tiles of
sufficient strength for vaulting. In this way, an established structural system and a well-known material are brought
together for a novel solution.

3953.SAF
Add the Project code number HERE
VIII. PROJECT SIGNIFICANCE AND IMPACT
[How would you describe the projects significance? Describe the project as it is today who uses it and how is it
used? Describe the aspects of the project that represent a particular achievement (e.g. a technical, economic or social
achievement or the projects response to culture, climate etc.)]
We build from the soil of the site. It's not only sustainable, but also beautiful. Mapungubwe's achievement is a
demonstration of the possibilities of integrating architectural, social, engineering and environmental ideals.
The first tile vaults built in Southern Africa were a series of small test vaults to teach local labourers the bricklaying
technique. The Department of Environment and Tourism (DEAT) provided funding to SANParks for poverty relief,
meaning a certain percentage of jobs had to be created for unskilled, unemployed labourers. The tile making and tile
laying took advantage of this and employed both male and female unskilled labourers from the surrounding communities.
The training was initiated by Peter Rich and Ramage/Oschendorf - who provided the skills of an expert mason, James
Bellamy (from New Zealand), who remained on site for 8 months. Bellamy trained with Spanish vault builders while
constructing a tile-vaulted dome in England. He, with Michael, led the intensive training process of guidework
construction and tile laying. Although it took some time to gain expertise and to master the nuances of laying delicate tiles
in fast-setting gypsum mortar, the results from the initial vaults, one tile thick and built in two days, were impressive. In a
short period of time, the masons gained enough skill to begin laying the soffit of the first vault using tiles set with gypsum,
while those who were still learning laid tiles for the subsequent layers in cement-based mortar on the outside of the soffit,
which could now be used as formwork for the rest of the vault.
The SANParks office component of 3 interlinked vaults was used as a prototype. Following the successful
construction of this building, the contractor and his team had enough skills to tackle the remaining vaults.
Materials: The proposal used about 85% local materials. Small (15%) quantities of carbon rich materials were used
when compared to the 40% (concrete) -100% (steel) of a conventional solution.
Embodied energy: By using thin tile vaults instead of reinforced concrete at Mapungubwe, we saved an estimated 9
m3 of steel, resulting in a savings of almost 120,000 kg CO2 emissions for manufacture alone. Using local earth bricks
instead of fired clay saved the energy that would have been used to fire over 200,000 tiles. Significant amounts of CO2
were saved by radically limiting transportation of materials. Labour intensive construction reduced polluting machinery
(sourced from afar) with small format construction methods that have minimal impact on the surrounding environment.
This intensive construction involved skills training which has had a positive impact on the socio-economics of the local
area consistent with government strategies for targeting development to local communities. The poverty reduction
programme employed a two dozen people for a year making tiles. The construction of the vaults employed a further 80
local people for 8 months. Overall, the project employed 160 out-of-work people for 27 months, including the
establishment of 6 small contracting businesses.
Cost: During contract negotiation, the vaults were costed by the client against an equivalent structure in reinforced
concrete. The tile-vaults were estimated to be 30% cheaper than concrete. However, between estimating costs and
construction, the price of steel rose over 200% due to demand throughout South Africa and the world. This would have
had a much more significant impact on the project if the vaults used steel in the structure -- but they dont. Furthermore,
it turned out to be difficult to source carpentry skills to work at the remote site. The formwork to build equivalent shaped
structures in concrete would have been incredibly expensive to make. If repeated in the same vicinity there would be a
further reduction of cost due to the reduction of costed risk and the transfer of knowledge and skills attained.
Lifespan: The proposal has a life span of 250 years. The use of fairfaced, robust and natural materials significantly
reduces the costs of future maintenance.
Environmental performance: The Centre's heavy weight and exposed construction has significant passive
environmental benefits. Here the exposed, thick construction absorbs thermal shock and acts as a radiant surface,
transmitting the coolth from the nighttime ambient temperatures over the day. A displacement ventilation system
introducing tempered air (cooled from the ground) allows air to rise naturally as it heats to be expelled at the apex of the
vaults (The passive cooling system was designed and effectively implemented in the SANParks headquarters building,
but not in the main Centre due to demands of exhibition directors and museum standards to have a supplementary
forced air controlled environment.) The vaulted forms allow natural light to penetrate deeply into the building, further
reducing energy expenditure.
The technology avoids the potential large embodied energy of a conventional solution in such a remote site by using
predominantly local materials. Except for the cement added to the earth to give the tiles strength and used in the mortar
layers between the tiles, all materials (earth, sand, gravel and stones) came from within a few kilometers of the building
site. The use of vaulting and other forms found in nature inspired by the dramatic landscape avoids any overt references
to any potentially controversial tribal vernacular (the area has many contesting land claims between different tribal
groups). By reducing or eliminating steel in the vault construction we aim for a longer life span without concern for
deterioration due to rust. The heavyweight construction has passive environmental benefits over a more conventional
solution. The building does not only cost at least 30% less than a conventional solution but benefits the local population
through using predominantly local labour with the added benefit of a tangible skills transfer.
This groundbreaking fusion of tile vaulting with pressed soil technology and its adaptation to engage low skilled,
unemployed labour offers a practical example of sustainable building in the developing world. Peter and Michael (though
the foundation of a sister company Light Earth Designs LLP) have applied the approach to different building types and
climates (designs are due to be constructed for a sports complex in Rwanda, a lodge in Ethiopia, and a school and
cultural centre for women in South Africa), but Mapungubwe Interpretation Centre remains the only permanent building
built using this technique to date. The future is exciting with Light Earth Designs LLP formalising skills training and
transfer, poverty relief and construction management and contracting in a single entity. We will demonstrate further that
highly engineered, progressive and beautiful building envelopes can be built using local labour and materials.

Mapungubwe Interpretive Centre

Project Affiliates and Consultants

Michael Ramage
Department of Architecture
Cambridge University
1 Scroope Terrace
Cambridge CB2 1PX
United Kingdom

DHCT
Deon van Niekerk,
Quantity Surveyor,
PO Box 6659
Ansfrere, 1711
South Africa

+44 (0)1223 760 121

mhr29@cam.ac.uk

+27 (0)11 763 8991

duct@mweb.co.za

John Ochsendorf
Department of Architecture
Massachusetts Institute of Technology
77 Massachusetts Ave
Cambridge MA 02139
USA

USNA Bouers
Piet C P van Staden
Contractor for Mapungubwe
PO Box 4464
Louis Trichardt, 0920
South Africa

+1 617 253 4087

jao@mit.edu

+27 (0)84 516 1441

+27 (0)15 516 2314
ansu_s@mtnloaded.co.za

Timothy Hall
DfID Kigali
BFPO 5768
HA4 6EP
United Kingdom
+250 78 422 4265
timothyhall@live.co.za
Henry Fagan & Partners
Consulting Structural Engineers
154 Bree Street
Cape Town, 8001
South Africa
+27 (021) 423 0873
henry@fagan.co.za
James Bellamy
21 Anzac Road
Whangarei
New Zealand
bellamyjk@gmail.com

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Mapungubwe uses the Mediterranean tradition of tile vaulting; thin bricks create lightweight and
HYVEFPIFYMPHMRKW7XEFMPM^IHIEVXLXMPIWVITPEGIIRIVK]MRXIRWMZIVIHGPE]FVMGOW
At Mapungubwe earth tiles are used to create sophisticated engineered forms
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MAPUNGUBWE INTERPRETATION CENTRE

MAPUNGUBWE WORLD HERITAGE SITE, LIMPOPO, 2008-2011

WORLD BUILDING OF THE YEAR 2009

-1

Mapungubwe Interpretive Centre

WORLD BUILDING OF THE YEAR 2009

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3953.SAF
Add the Project code number HERE

Document C

MATERIALS IDENTIFICATION FORM

Provide a full list of all material being submitted (CD, DVD, Books, etc.)
No.

Description

Remarks

3953.SAF AR: Architect's Record of the project

All materials submitted via

WeTransfer due to file size. 3953.
SAF also sent by email

3953.SAF Mandatory Materials.zip: contains AR, 2 A3 Presentation

Panels, images and thumbnails, material and image lists, Peter Rich and
Michael Ramage CVs.

All the required materials in one

place

3953.SAF Optional Materials.zip: contains 3 Additional Presentation

Panels, Bibiliography, award list and websites referring to project,
Construction sequence time lapse video, Brick '12 project video

Supplemental materials that help

describe the project

4
5
6
7
8
9
10
11
12
13
14
15
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18

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