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Click to view large map Coordinates: | Previously Von Brandis Heights .This fourteen-storeyed apartment building demonstrates many of the attributes of what Chipkin (1993:226) has styled the ''Hillbrow Vernacular'': Chipkin (1993:237) sees in this building the culmination of all three external post-WW2 influences, namely the Corbusian modernity of Martienssen House, that of the Brazil Builds Exhibition [''not as thick on the ground as they were dominant in the imagination (Chipkin 1993:236)] as well as more than a ''shadow'' of overt contemporaneity and ''instant modernity'' of the Festival of Britain (Chipkin 1993:237). The basic Corbusier language that Le Roith had absorbed into his pre-war oeuvre remains intact: in the ground-floor pilotis, entrance stonework, rounded shipshape roof forms. The surrounding frame and the framed square inset windows in facebrick infill walling - elements inspired by the Martienssen House are there, too, although now transformed by Le Roith's strong urge for eye-catching enrichment. This building is distinguished by a cantilevered double-volume entrance carrying twelve storeys above, the entrance platform raised off street level, the cantilever poised on large diagonal concrete piers to frame the entrance at Pietersen Street. Particular attention was paid to the design of the lobby of the building. It was modern, light and airy, with extensive large floor to ceiling glazing. The floor of the lobby was paved with large river boulders which flowed from the pavement into the lobby. The facing wall of the lobby was clad in stonework. In contemporary parlance, this area would be termed ‘mid century modern'. (As cited in the HIA of SAVAGE + DODD ARCHITECTS, 2017:14) Building Structure Harold le Roith Architects were known for their innovative approach to structures, in particular the exploration of ‘thin’ slabs and cantilevering slabs. They worked extensively with a Swiss Engineer, A. Beguin who was in touch with developments in Europe and USA. In Cresthill, this is given expression in the concrete cantilevering balconies and walkways which taper to extremely thin fine edges. These were designed by Beguin. Le Roith’s Office was also known as a Practice where young architects were quickly involved in the design of new buildings. The impact of students and young architects such as Kurt Jonas who worked on Radoma Court is documented in Gilbert Herbert’s book on Martienssen & the International Style (Stephen LE ROITH email 20/7/2017 as cited in the HIA of SAVAGE + DODD ARCHITECTS, 2017:15) Working Drawings In Cresthill, Le Roith’s partner Wim Swaan was involved in the design and detailing of the project. All the working drawings were drawn by him and he refused to hand these to a draftsman preferring to detail the set himself drawing every brick and stone immaculately. (Stephen LE ROITH email 20/7/2017 as cited in the HIA of SAVAGE + DODD ARCHITECTS, 2017:15) References:
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