Adorning Ellipse Waterfall with Lorenzo Nassimbeni
Named A Patterned Landscape, the surface artwork project at Ellipse Waterfall celebrates the public Midrand space at various scales – urban, architectural, landscape, and detail. The space is a key precinct in the broader Waterfall City environment. Conceptualised as a ‘landscape within a landscape’, the forecourt of the new development designed by dhk Architects lent itself to the creativity of architect and conceptual artist Lorenzo Nassimbeni, accompanied by landscaping by GREENinc Landscape Architecture + Urbanism, to transform the piazza’s design into an allegory of the surrounding Highveld.
The art and the architecture
When contracted to contribute his creative insight, Nassimbeni was asked to design either a mural, sculpture, or surface artwork as the proposed addition to the Ellipse Waterfall piazza. For the artist, a mural would have been too two-dimensional, whilst a sculpture would perhaps invite a multitude of interpretations by the public, some of which may not be congruent with the conceptual intentions of the project. The natural choice turned out to be a surface artwork, allowing for a practical and spatially integrated intervention with the luxury apartment building.
The artwork needed to draw people into the piazza and help orient them. An important consideration was the aesthetic nature of the planted landscape, which is a key feature in the overall design, connecting the building to the precinct and ultimately the context of Midrand. The surface artwork is a response to this, defining itself as a landscape of sorts. It is a spatial element which refers to the architectural language of the building of which the planted landscape is a part. The surface artwork had to incorporate a strong visual interest. By referring directly to the elliptical geometry of the building, and in particular its form, the geometric language of the pattern elevates the abstract nature of the design.
Connecting to the landscape
Once the concept design proposal was approved, the artist worked closely with GREENinc to integrate the surface artwork with the planted landscape of the piazza. Union Tiles created a custom-designed terrazzo tile to suit the conceptual direction and practical considerations of the artwork. Calling on Afrocentric language as requested, Nassimbeni incorporated the elliptical Shweshwe pattern of a particular Basotho blanket into the artwork’s design, which has significance in its reference to the natural landscape of the area. The approach was to build the primary unit of the pattern as a 600 x 600 mm composite tile. Per 600 x 600 mm unit, eight separate tiles were used, each of which was water jet cut into segments and put together like a jigsaw puzzle.
Specialist industrial designer Wolkberg collaborated on the project for the creation of the concrete seats. The process used a method of translating a two-dimensional drawing representing the Midrand natural landscape into a steel element set into the curve of the seat. The tiled surface incorporates a tree next to the concrete seat to create an intimate environment within the overall space.
Although there is a focus on the tiling aspect of the project, the concrete seats and affiliated trees provide a three-dimensional aspect to the overall composition. The tiled pattern is best experienced from the upper levels of the tower when it comes to understanding the overall concept of how the pattern changes as it travels toward the entrance of the building. This experience is largely visual. The seats and trees provide spaces where the pedestrian can experience the tiled pattern at a detailed scale – the texture and colour of the tiles are almost tangible. At this level, the experience of the surface artwork becomes visceral.
The union between architecture, landscape, and art at Ellipse Waterfall brings the idea of a livable and lively neighbourhood to fruition. Offering Highveld views, many uses, and accessibility, the only thing that could improve a building and landscape combination like this one was art. Thanks to the elliptical intrigue of Lorenzo Nassimbeni’s creative tile and concrete designs, the piazza is a platform that makes the building and landscape sing.
‘The landscape design became the middle ground between context and building, and tries to tie these public and private needs and functions together. Design language, materiality, and built form all work together to achieve this goal and are the product of collaboration between multiple professionals (Architects, Engineers, Landscape Architects, Artists, Urban Designers). I suppose the approach is to see the forest for the trees.’ – Andrew Kerrin, Landscape Architect
‘The most successful projects are those where it’s difficult to say what is architecture, what is landscape architecture, and what is art. Our aim with the landscape design is to improve the project – to make it more usable and comfortable and environmentally sensitive and prettier, of course – but not to stand apart as something separate or competitive.’ – Stuart Glen, Founder & Director, GREENinc Landscape Architecture + Urbanism
‘Done right, public art inspires us to stop and think about the spaces where we are. It offers a greater sense of place and reflects the character of its context and purpose. Lorenzo’s concept integrated well into the architectural identity of the building, in colour, texture, and tone. More than that, it achieves the goal of using art to enhance the building’s identity and offers a creative expression of the building’s presence within the Highveld context.’ – Peter Fehrsen, Co-founder and Partner, dhk Architects
This article is an extract from our May Issue. Read the full issue here.
