HISTORICAL STELLENBOSCH
Design Guidelines
Compiled by
IAN PRETORIUS
Published by the
STELLENBOSCH HERITAGE FOUNDATION
PO BOX 3003, MATIELAND 7602
2007
“No nation, any more than a single individual, has the right to dispose at will of property that may concern men of tomorrow as well as those of today”
Pictures from a Living Past
UNESCO, 1978
“Is it not better to add to the sum total of the record of human creativity than to subtract from it? Is it not better to allow people to be enriched by the products of all ages rather than just our own”
Randolph Langenbach
A future for the Past
1978
CONTENTS
Introduction 1
I. CONSERVATION GUIDE-LINES
(a) Why Conserve? 2
Conservation/Preservation
Restoration
Reconstruction
Renovation
Rehabilitation
(b) The Conservation Approach 3
(c) How to Implement Conservation Principles 4
A complete survey
Methodology 5
Legal aspects of conservation
Documentation 6
Able supervision
Context
Interiors 7
Minimum Intervention
Repair rather than replace
A sympathetic new use
Continuous maintenance
2. CARE, MAINTENANCE AND RESTORATION 8
Thatched buildings
Flat roof buildings 9
Cape Victorian buildings
General building information 10
(a) Walls
(b) Combating damp
(c) Lime plaster 11
(d) Painting and decoration of walls 12
(e) Carpentry and joinery
· Doors, windows and shutters
· Floors and ceilings 13
· Screens and wall-cupboards
· Types of wood 14
· Wood finishes
(f) Metal fittings
(g) Stoeps and verandahs 15
(h) Walls, gates and railings
Modern additions 16
3. TOWN PLANNING MEASURES
New buildings within historic streetscapes 17
Walls
Vegetation
Sources 18
Index 19
INTRODUCTION
The aim of this publication is to provide easily understood general information regarding the care of old buildings, and the design of new ones, in historical Stellenbosch.
Much has been lost of the town’s architectural heritage, partly because of disasters and neglect, but also through well-meant attempts at adaptation to new styles and changing tastes and circumstances. Difficult access to relevant information, general ignorance of architectural styles and periods, and limited understanding of suitable building materials and techniques further restrict the quality care which old buildings deserve.
Ill-considered alterations and substitutions can seriously impair, or irreparably damage, the character and authenticity of a building. As a result, we loose not only a bit of history, but also contribute to the dilution of Stellenbosch’s uniqueness.
This publication is not a do-it-yourself manual, but provides background information for appreciating the character, details and characteristics of particular Stellenbosch buildings. It aims at cultivating an awareness of what conservation entails, and provides owners with practical hints regarding the upkeep of their historical structures. The information has been culled from various sources and represents knowledge gained by numerous experts over many years of study and practical experience.
Places containing historical buildings convey a message from the past and survive as tangible links to early cultures and traditions. They clearly have to be preserved for posterity in their rich totality, and in harmonious surroundings. Every owner of a property in such an environment therefore plays an important part in the conservation process. While historical and aesthetic considerations are paramount, it should be remembered that competent conservation also increases the value of a property. Moreover, it creates attractive surroundings where tourists gather, the retail trade can flourish, and a positive community spirit prevails.
I. CONSERVATION GUIDE-LINES
The idea of conservation arose because of the inability of architects to create a contemporary building style during the Victorian era. This opinion was expressed in a manifesto by William Morris, famous poet, craftsman and founder of an English conservation society in 1877. Despite a great interest in the subject and the efforts of able conservationists, Morris continues, the previous fifty years had contributed more to the destruction of buildings than all the revolutions, violence and disregard of past centuries. Morris warns that, under the pretext of conservation and with the promise that buildings will be returned to their former glory, architects use their own whims and fancies as guide-lines. That which is destroyed in the process is replaced by what the architect imagines earlier architects would, or could, have built. This dual process of destruction and addition results in a miserable and lifeless fabrication which Morris labels “restoration”. Conservation should be emphasized rather than restoration, and deterioration countered by regular maintenance.
Old buildings should be treated as monuments of a bygone art, reflecting the fashions and styles of previous periods. Where decay has set in, this should be skillfully fixed instead of pursuing a feigned ideal. Thus far William Morris.
(a) WHY CONSERVE?
Despite all the knowledge accumulated so far, misunderstanding still exists regarding conservation. Therefore, it is necessary to start by answering the above question.
Firstly, a building accommodation for humans and is a financial asset. Since it is expensive to replace an old building, conservation makes sound financial sense.
Secondly, conservation preserves the evidence of how earlier generations lived, laboured and even thought. Humans have a need to create an image of themselves. Old buildings are records of history and human aspirations and, therefore, primary sources of information that can be physically experienced. Retaining such tangible signposts promotes the identity of a place, and prevents the estrangement of a community from its surroundings. Careful scientific conservation, carried out with due regard to history, is a source of pride and satisfaction which can serve posterity as a source of study and admiration.
Thirdly, retaining historical complexes are of economic importance to the whole community. The architecture of Stellenbosch and other historic Boland towns hold a strong attraction for visitors because of the pleasing natural surroundings of rugged mountains, undulating hills, cooling streams and lush vegetation. Consequently, the huge tourist market of the Cape Winelands.
Conservation also contributes towards the continuation of traditional methods of construction and decoration. By restoring and preserving buildings, architects and other specialists are stimulated to do research, which increases knowledge and may enrich contemporary design.
Conservation of a building as a tangible historical document requires that preservation and reparations aim at the highest possible degree of authenticity. This implies continual maintenance in order that the structure’s cultural significance not be deminished. Besides archaeological remains and architectural design, the context of a building should also be considered, i.e. the site and surrounding structures, as well as the vicinity. Only a few Stellenbosch buildings have intrinsic architectural merit, but collectively the old houses are important because of the historical context within which they are situated.
In order to promote the uniform use of conservation terms, and to prevent embarrassing misinterpretations, the following definitions, approved by the South African Heritage Resources Agency, are given. These concepts represent various degrees of intervention in the fabric of a building.
Conservation/Preservation
Retaining the authentic character of a building while avoiding alteration and deterioration. This implies stabilization where necessary, and maintenance. Such an approach is suitable for aesthetically meritorious buildings or those of cultural-historical value, as well as for those in a reasonable state of repair but lacking sufficient evidence to justify other forms of conservation intervention.
Preservation entails maintenance only and is considered the safest form of conservation since no historical material is removed from the structure.
Restoration
Expertly returning a structure to a former state of appearance. Existing components are repaired and useless later additions removed. This method is based on respect for all physical, documentary and other evidence, and avoids conjectural re-creations. This approach should only be followed where sufficient information is available concerning an earlier appearance of the structure, and only when the return to that condition reinstates its former cultural significance.
The most serious restoration mistake involves returning a building to a former stage which is of no relevance to its particular history. The preferred stage need not necessarily be the earliest, especially not if this means that evidence of its evolution, or culturally important later additions, have to be demolished.
Reconstruction
The erection of a faithful copy of a building. This is appropriate where a gap in a historical streetscape needs to be filled – preferably exactly where the original stood – or where a museum attempts to recreate a particular historical period. Hypothetical reconstructions, i.e. based on supposition, should be strongly discouraged.
Renovation
The superficial repair of a building to a good condition while retaining its existing character. This is appropriate where a structure has little intrinsic merit, yet forms part of a harmonious streetscape.
Rehabilitation
The reparation and alteration of a building for a particular use, while retaining significant architectural and cultural-historical features. It is important that such alterations only be allowed where the future use of the structure does not differ drastically from the original function: rehabilitation should respect the former cultural importance of the building by keeping internal alterations and external additions to the minimum.
(b) THE CONSERVATION APPROACH
All buildings are affected by wear and changing needs. Changes can, however, be reasonably unobtrusive if sensitively managed through good conservation practices.
A number of interrelated factors determine the particular conservation route to be followed. These include the cultural-historical importance of the building; present physical condition; intended use; and available funds. Moreover, it must be remembered that the building, and not its present owner, is the most important party (the latter being only a temporary custodian). Further, what is advocated is not conservation for conservation’s sake, but an innovative, original approach which will ensure the continued utilization of the building.
The following principles can serve as a basis for good conservation:
* Thoroughly research and document the building and its history before starting conservation. Unsubstantiated interpretations based on suppositions and personal taste cannot be justified in the case of a historical property;
* Repair rather than replace. Retain as much of the original fabric as possible;
* Where repair is impossible, the replacements should be based on actual examples and not on supposition or romantic notions. Pay particular attention to style, colour, texture, arrangement and traditional materials. Document all substitutions;
* Carefully measure and record the inside and outside of the building, as well as the layout of the garden, garden walls/fences and adjacent buildings;
* Do not blindly restore a building back to its earliest form. Stoeps, verandahs, cast-iron fixtures as well as fret and turned woodwork of the Victorian and Edwardian periods have also become part of Stellenbosch streetscapes;
* Do not create a building that never existed. It is tempting to want to improve the appearance of a simple structure by adding elements foreign to its character. Conservation should not be fashionable but rather stylistically bound to the period from which the building dates. Honesty and integrity above all!
* Beware of gilding the lily! Do not falsify and confuse by intensifying the stylistic features of a house e.g. by heavier mouldings or over-elaborate doors, gates and fences;
* Because conservation requires considerable expertise, rather employ professionals. Should you attempt the project yourself, do consult the experts when the slightest doubt exists;
* Do not make unreasonable demands on the building. Rather find a compatible use which requires minimum intervention in its structure or historical character. Be prepared to compromise. Ideally, an old building should continue serving its original purpose;
* Honour the character, details and congenial atmosphere of an old building. Do not restore to such an extent that everything is renovated!
* If at all possible, new additions should be invisible from the street;
* Retain the original configuration of the building. This is important, since the proportions of rooms and passages and their interconnections all contribute to the basic character of the interior. Removal of internal walls and drastic modernisation of the inside should be avoided.
(c) HOW TO IMPLEMENT CONSERVATION PRINCIPLES
A complete survey
It is important to begin a conservation project by thoroughly investigating every element of the structure. This is the field of professionals such as the archaeologist, historian and architect. Therefore, they should be called in to produce reports for the owner, as well as the required Heritage Impact Assessment for the South African Heritage Resources Agency. These investigations comprise the following aspects:
* The physical condition of the structure;
* The various phases of construction (old building plans are often very helpful);
* The age and stylistic period(s) of the components;
* Location and preservation of all archaeological artifacts;
* Finding and studying all available deeds, plans, sketches, photographs and early descriptions;
* Gathering eye-witness accounts from previous owners and inhabitants (such socio-economic information elucidates the structure’s function in the local community);
* Full documentation of the fabric before any changes are made i.e. measuring, sketching and photographing the building and its components.
Methodology
After all possible information regarding the site and building(s) has been gathered, it must be processed. The result will indicate accurately what particular policy should be followed regarding conservation.
Whatever that policy, the site and its structures should be seen as the products of a particular period in time, and must be treated as such. Alterations not based on history must be avoided. Conservation aims at honesty and should neither falsify nor deceive.
The methods and materials used during the process, as well as the discoveries made, should also be documented. Deviations from initial plans for conservation often occur because of such discoveries, which shed light on the property’s past. Every deviation and adjustment, including its motivation, should be recorded. All this information is invaluable for further research and maintenance, as well as for future owners. In the course of years these documents serve as the only indication of what material is original and what was replaced.
Legal Aspects of Conservation
When alterations or additions to a building are contemplated, it must first be established whether it is older than 60 years, in which case all new work will have to be approved and monitored by the South African Heritage Resources Agency. Moreover, should the site or building fall within a special historical zone or conservation area, further limitations might apply.