VISUAL ARTS
PAPER 1
GRADE 12  
AMENDED SENIOR CERTIFICATE EXAMS
PAST PAPERS AND MEMOS
MAY/JUNE 2018

INSTRUCTIONS AND INFORMATION 
Read the following instructions carefully before commencing marking: 

1. The marking guideline consists of EIGHT answers. Candidates had to answer  any FIVE questions for a total of 100 marks. 
2. It is MOST IMPORTANT that allowance is made for the learners in many  instances:
   • Candidates must be given credit for providing their own opinions and  ideas in their answers. 
   • Credit must also be given for lateral thinking.
   • It is also important that arguments and statements are reasoned and  qualified by reference to specific factors.
3. Questions and subsections must be numbered clearly and correctly. Bullets  usually act as guidelines to help structure learners' answers.
4. Information and artworks discussed in one answer must not be credited if  repeated in other answers but artworks may be cross-referenced.
5. Where applicable, candidates must name the artist and title of each artwork  mentioned. Only ONE mark is allocated for the correct artist and title of work.
6. Where appropriate candidates may discuss both two-dimensional and three  dimensional artworks in any question. 
7. Remember that many learners will be discussing these examples, never  having seen them before. Markers therefore cannot expect factual,  academic information. They should draw upon their own experiences,  cultures and interpretations of the artworks, within the context of the  question. Therefore markers need to be open-minded and flexible in the  marking process. 

GENERAL INFORMATION FOR MARKERS 

• This marking guideline is to serve as a guideline for markers as well as a teaching  tool. Therefore, the marking guideline for certain questions is in greater depth, so  that the information may be used as learning material. Other parts of the marking  guideline may merely be a suggested guideline.  
• NOTE: Markers are encouraged to reward candidates for what they know, rather  than penalise them for what they don't know. 
• Although the information for the questions is given in point form, candidates must  use an essay/paragraph format discussing their information in a holistic manner. 
• Candidates must answer all the questions in FULL SENTENCES or  PARAGRAPHS, according to the requirements of each question. Answers in point  form cannot receive full marks. Full marks cannot be given if the title or artist is  incorrect. 
• Markers must refer to the Visual Arts CAPS document page 45 for a guideline to  assess the levels of achievement.

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Visual Arts/P1 3 DBE/2018 SCE – Marking Guidelines 

Assessing candidates' ability to analyse and respond to examples of visual culture

MEMORANDUM

CANDIDATE MUST ANSWER ANY FIVE QUESTIONS. 
The following mark allocation must be adhered to when only ONE artwork/artist  has been discussed instead of TWO. 

• 6 marks (max 3) 
• 8 marks (max 5) 
• 10 marks (max 6) 
• 12 marks (max 7) 
• 14 marks (max 8) 
• 20 marks (max 12) 

QUESTION 1: THE VOICE OF EMERGING ARTISTS 

1.1 Candidates must visualise the poem above and select ONE phrase for each  artwork that motivates their choice by referring to the imagery, mood and  atmosphere of the artwork.  
Candidates can select any phrase, however, the selection needs to be  motivated 

• FIGURE 1a: 'And the day is loud with voices speaking' OR 'My heart is warm  with friends I make'. 
  The figures are represented in a standing position on a train. The black and  white figures can be seen speaking and engaging with friends. 
• FIGURE 1 b: 'But I hear its whistle shrieking' OR 'Yet there isn't a train I  wouldn't take, No matter where it's going'. The train is seen moving through  the town/landscape with steam billowing from the chimney. The brightly  coloured painting implies a happy and joyful mood. (6)

1.2 Compare the imagery in each artwork by referring to the focal point,  composition and use of colour. 

• FIGURE 1a: The figure with the handbag is the focal point; however, the  candidate can mention that there is no definite focal point as the eye moves  all over the picture plane. The composition is very claustrophobic,  overcrowded and cramped by the overlapping of the figures in the middle ground. The artwork has a dramatic contrast of black and white with flat tones  (no tonal effect in the colour). The figures are large in comparison to the train  and dominate the composition.
• FIGURE 1b: The smoke and train form the focal point in the middle of the  composition. The train is very small in relation to the rest of the composition.  The artist uses bold, vibrant and non- representative (arbitrary) colour which  can be seen in the blue roofs and red/pink grass.
  One mark for a comparison/discussion. One mark of composition, one  mark for discussion of colour and one mark for focal point per artwork. (6) 

1.3 Candidates must interpret the work of ONE artist they have studied, who  comments on their daily experiences. 
They can include the following in their answer: 

• Influences 
• Formal art elements 
• Media and technique 
• Style 
• Possible messages/meanings (8) [20]

QUESTION 2: SOUTH AFRICAN ARTISTS INFLUENCED BY AFRICAN AND/OR  INDIGENOUS ART FORMS  

2.1 Although both artists have made use of the nude body, how does the  composition and mood differ between FIGURE 2a and FIGURE 2b? 

• TEACHERS TOOL: Many of Stern's paintings of people are concerned  primarily with the culture rather than the individual. The Hunt was a product of  her journey to Swaziland and Natal during the 1920's. Picasso was influenced  by African sculpture and the main point of Les Demoiselles d'Avignon was to  challenge the viewer's normal assumptions.
• FIGURE 2a: The composition is very cramped. The smaller figures in the  background create a feeling of depth in the painting, the perspective is  distorted as there is little difference between foreground and background  space.
  The colours don't become less vibrant in the background and some figures in  the background are out of proportion in relationship with each other on the  particular plane of depth. The area of focus appears to be the three figures in  the foreground. The figures are either naked or just wearing a loin cloth  making them vulnerable. A feeling of activity is created by the use of angular  lines often intersecting with each other. The use of bold colour gives a feeling  of joy. The figures seem to be caught off guard which is evident in their facial  expressions and body language.
• FIGURE 2b: Les Demoiselles d'Avignon has a flatness and two dimensional approach with an absence of perspective. There is an uncomfortable mosaic  of angular and overlapping fragments of five gigantic intrusive female nudes.  The two central women are provocative as they stare expressionlessly at the  viewer, aggressively flaunting their nudity. The overall impression of the  painting is one of vibrant colours and pattern, but one does not feel any  emotions in the subjects and they almost appear like bored models posing for  a fashion shoot. (4) 

2.2 Discuss the style and manner in which the artists have approached their  subject matter. 

• FIGURE 2a: Irma Stern used expressive brushstrokes, thick paint and bright  colours to show her idealised, view of the world, rather than the suffering of  Africa. The thick paint applied with a palette knife creates a sense of  emotional intensity. She uses decorative curves, lines and S-shapes. She  uses both arbitrary colour and real colour with loosely applied gestural marks.
  The figures are stylised resembling the angularity found in African sculpture.
• FIGURE 2b: Picasso uses flat, splintered imagery, together with patterns of  light and dark (as opposed to rounded volumes), in order to create a sense of  space and form. The figure (bottom right) is made up of a collage of different  viewpoints of herself, while the others are depicted in a flattened geometric  form. The painting's sharp, almost shard-like pictorial components imbue it  with a disturbing sense of violence and sexual power. (4) 

2.3 Candidates must discuss TWO artworks by different artists whose work  shows evidence of an African/Indigenous influence.  
They may use the following guidelines: 

• Influences 
• Style and technique 
• African signs/symbolism 
• Possible messages/meanings (12) [20]

QUESTION 3: SOCIO-POLITICAL ART, INCLUDING RESISTANCE ART OF THE  1970s AND 1980s 

3.1 Candidates must compare FIGURE 3a with FIGURE 3b by referring to the  following guidelines: 
The placement/positioning and significance of the figure in each  work 

• FIGURE 3a: A mysterious female figure is positioned in the  background of the landscape of an overabundant layered  composition. Her figure is shrouded with white fabric in a classical  Greek style. She holds the draping up in both her hands covering some of the objects in the composition. Perspective has been  accentuated by the extremely small figure on a heap of debris and  objects compacted into a waste-disposable site. The crowded objects  raise questions about relationships of power as well as notions of self,  identity and knowledge. The objects that Siopis uses have their own past that have once  played a role in someone's life. Possessions embody people's  personal memories and experiences but have also become a part of  the wider social history and symbolism. Siopis uses random objects in her painting which comments on  colonialism, gender and other discriminatory practices. She also  comments on the misrepresentation of history by patriarchal Western  society.
• FIGURE 3b: The large ghostly figure appears in a surreal composition  of a jinn (an ancient supernatural genie) experiencing the ravages of  modern man and placed as focal point on a dumping site. The figure  is rising from the debris wearing a skirt made of waste and plastic  bags. Her headpiece and jewellery have also been made from  recycled materials. The figure is moving towards a vast open  landscape. Grey smoke is seen emerging from the dump site creating  an eerie atmosphere. 

The purpose of the drapery/lack thereof in FIGURE 3a and 3b 
She is holding a large piece of drapery/fabric in both hands which  cascades towards the bottom of the composition. The fabric is used  as a metaphor to reveal or conceal the compacted and heaped  rubbish dump of objects being thrown away by society. 

• The relevance of the titles of each artwork FIGURE 3a: 'Piling wreckage upon wreckage' The title indicates that the random objects are seen as wreckage of  our society and are piled up. Our attention is focused on the idea that  our society is built up on the debris of our past history. It could also  refer to the misrepresentation of history by Western patriarchal  society. 

 FIGURE 3b: 'The prophecy' 
 The title refers to the figure as a prophet. The prophet's function will   be to deliver a message to the people that if they don't look after the   planet and their surroundings there will be nothing left for the future   generations.  

• What social issues has the artist addressed in FIGURE 3b and  3b?  Fabrice Monteiro wanted to create awareness about the risk of   modern man's pollution in Africa, highlighting the negative use of   plastic bags and other serious environmental problems.  
• Identify any object/s that have been thrown away in FIGURE 3a  and recycled in FIGURE 3b. Motivate your selection.  

Candidates can mention any object seen in FIGURE 3a such as vase,  picture frame, paper scroll, flowers, Venus statuette, candelabra,  plastic bags, bottles etc. We live in a consumer society where items  are discarded easily and new things bought just to continue the cycle. (8) 
3.2 Candidates must discuss TWO artworks they have studied, which reflects  resistance/socio- political issues. (12)  [20]

QUESTION 4: ART, CRAFT AND SPIRITUAL WORKS MAINLY FROM RURAL  SOUTH AFRICA 

4.1 By discussing FIGURE 4a and FIGURE 4b, candidates must discuss the  characteristics of Esther Mahlangu by referring to the following:  

• Art elements  

FIGURE 4a: Vertical, horizontal and diagonal lines are used in her  artworks. She creates brightly coloured (red, blue, yellow, green  and purple) geometric shapes which are outlined in black. She also  makes use of white in the background of her works. The repetition  of the lines, shapes and colours create a decorative pattern. The  blankets that the women are wearing are divided up into bands of  red, brown, yellow and blue colour. They are also wearing brightly  coloured jewellery around their necks and legs which are made  from glass beads. 
FIGURE 4b: Vertical, horizontal and diagonal lines are seen in her  artwork on the walls of the gallery and interior of the car. She  creates brightly coloured geometric shapes that cover the surface  of the artwork or specific part of the car's interior. Her shapes are  outlined in black and/or white lines. She uses bright colours e.g.  yellow, blue, green and pink. 

• Materials and techniques 

FIGURE 4a and FIGURE 4b: Mahlangu applies paint to the plastered surface of the wall of the  house. Black lines are used to outline the different brightly coloured  geometrical shapes. The traditional beadwork is made by hand  stringing different colours of glass beads in different patterns. The  vessel is made from a calabash. 

• Style and context 

FIGURE 4a: Mahlangu is influenced by her Ndebele traditional  culture which she inherited from her mother and grandmother. The  houses have been painted in the traditional Ndebele geometric  design. The figures wear traditional jewellery made from beads and  copper rings. The vessels used for storage of water etc. are known  as calabashes and these are also used and transformed into works  of art and functional everyday items. 
FIGURE 4b: Mhlangu honours her traditional Ndebele culture by  still wearing a traditional Ndebele outfit although she is standing in  a contemporary art gallery. She wears a traditional brightly coloured  Ndebele blanket with a headpiece and jewellery around her neck  and ankles made from coloured glass and brass. Brightly coloured  geometric shapes and patterns are painted on the interior panels of  the 7 series BMW car. Paintings/artworks with the same designs  can be seen hanging on the gallery walls. 

Related Items

• The candidate's understanding of what is meant by the  'connection' between the past and the present in her artworks Her traditional decorative painting has been reused and applied to  many different surfaces e.g. clothing, shoes/sneakers, skateboards,  walls, glass bottles and cars.  

FIGURE 4a: Mahlangu is photographed in front of her traditional  Ndebele homestead wearing an Ndebele outfit. She pours water  from a calabash. The Ndebele clothing and the use of the calabash  is evident of her past/traditions and she still has a connection with  the past as she still uses these items in a modern society. 
FIGURE 4b: Mahlangu is photographed in a contemporary art  gallery where her traditional artworks are exhibited on the walls and  on the interior panels of the BMW. The 'connection' here is made  with the present. She communicates and informs us on the  practices and importance of her culture and the preservation  thereof for future generations. (10) 
4.2 Candidates must discuss the work of TWO art, craft or spiritual artists who  have used traditional methods to create their artworks. They can refer to the  following in their discussion: 

• Materials and techniques  
• Possible influences 
• Themes/subject matter 
• Possible messages/meanings 
• How these works have been influenced by the artist's culture (10) [20]

QUESTION 5: MULTIMEDIA AND NEW MEDIA – ALTERNATIVE CONTEMPORARY  AND POPULAR ART FORMS IN SOUTH AFRICA 

5.1 Candidates must discuss the juxtaposition/contrast in FIGURES 5a-5d by  referring to the following: 

• Symbolism and imagery: 

FIGURE 5a: Two female figures are seen facing the viewer in an  enclosed space. The dressed figure on the right is headless while the  posing central figure is nude. The central figure, which is the focal  point, is divided into different juxtaposed, unrelated parts. Some body  parts appear to be frayed or x- rayed exposing the nerves and bone.  The body parts give the idea of drawings from a medical/anatomical  journal. The oval disk around the legs, mathematical images in the  abdomen and mechanical object placed on the left side of the face  refer to technology, industrialisation or the horrors of WW1. Two  birds/doves are superimposed over the two figures which could symbolise purity, spirituality or even have a religious connotation. The image becomes dreamlike/fantasy like. 

• Materials and textures: 

FIGURE 5a: The combination and juxtapositioning of different  mechanical, industrial and anatomical parts is distressing and creates  a mood of discomfort. The use of anatomical/x-rayed images makes  the viewer uncomfortable. 
FIGURE 5b: The artist created a 3- dimensional sculpture using unrelated/ discarded found objects. The mannequin's head and torso  have been splattered with paint and placed within a baby pram creating a shocking and haunting effect. The chest cavity of the torso has been hollowed out and a cross has been placed where the heart should be  The mannequin is propped up against a wooden log.  
FIGURE 5c: Revenants III represents a pregnant figure with a head  emerging from a hessian sack. The hessian sack is a coarsely woven  fabric and is worn as a garment. The sack, disused rubber and  mannequin, imply that people are treated like trash. It de-humanises  the human form, and creates a disturbing work. The rubber flaps  extruding from her frame indicate that she is falling apart or changing  shape. Pieces of rubber protrude from the legs and arms of the  mannequin. It seems like spikes have been driven through the skin. It  invites the viewer to touch the textures as if to soothe the skin. The  rubber chain around her waist extends to the floor also create a tactile  texture. It invites the viewer to feel and identify the material. Hessian, a  coarse woven fabric, is wrapped around the head of the female figure  almost suffocating her. Smooth gold antennae are seen protruding  from her ears
FIGURE 5d: This 3-dimensional sculpture represents a figure bending  over with his/her upper torso concealed in a large bag as if he/she is  looking for something. It almost takes on the resemblance of a  caterpillar. The figure is made from rubber tubing as well as his  underwear. The figure which is made predominately from black rubber  tubing wears a pair of blue jeans halfway down his buttocks with his  boxers revealed- making reference to certain fashion trends.  

• Possible meaning and messages:  

FIGURE 5a: The juxtaposition of different images to create a fantasy,  dreamlike Surrealist artwork.  
FIGURE 5b: A powerful and haunting image that reminds us of death. 
FIGURE 5c: The human form appears to be de-humanised. The  hessian fabric is wrapped around the head almost suffocating the  sculpture. The rubber chain is also an indication of her being contained  and imprisoned. The chain could represent an umbilical cord. The  texturised rubber pieces protruding from her legs and arms could refer  to her being tortured and distressed. 
FIGURE 5d: The artists' interpretation of the artwork is that of a  creature swallowing a person. The idea of searching for or concealing  one's identity is created. The idea of the known and unknown, being  ejected or consumed, inside-outside, comfort, shelter, contrast,  perfection, sacred space, pleasure, fantasy, duality are created. The  sculpture makes the viewer feel uncomfortable and claustrophobic.  The meaning is ambiguous and might refer to sextuality and cultural  practices. (10) 
5.2 Candidates must interpret any TWO artworks by different South African  artist/s who use alternative/new media in search of ways of communicating  pressing issues. (10) [20]

QUESTION 6: POST-1994 DEMOCRATIC IDENTITY IN SOUTH AFRICA 

6.1 Candidates must discuss how Witbooi sees South Africa's democracy by  referring to the following: 

• Colour: The monochromatic greys and blacks of the figure, create an eerie mood. It can also imply the classical heritage and the symbolism of Lady Justice. The grey tones of the figure contrast sharply with the vibrant  pink of the graffiti in the background. The grey and khaki squares forming  the background of the graffiti create a rhythmic pattern. Black is used in the  typography/text of the graffiti and the masked figures. 
• Influences: The artist could be influenced by collage-style  paintings/artworks, graffiti, pop art, and hip-hop culture. 
• Meaning and symbolism of:
  • The blindfolded figure: The blindfolded female figure (representing  Lady Justice) walks on a tight rope attempting to balance the scales  she is carrying. Being blindfolded makes it dangerous to walk on a  suspended tight rope. She could represent the strength of South  African women walking blindly into a new democracy. She is fully  clothes and her dress is made of soft fabric, and draped in a  classical Roman fashion. The blindfolded woman represents all men  and women of society who were handcuffed by a discriminating law.  A shackle on her right wrist could symbolise that she has broken  free, being above the law but still on a tight rope of uncertainties. 

TEACHING TOOL: The blindfold represents impartiality, the ideal  that justice should be applied without regard to wealth, power, or  other status. The Roman inspired garment symbolises the status of  the philosophical attitude that embodies justice. 

• • The scales: The figure carrying the scales is a metaphor of the men  and women in South Africa trying to balance knowledge and ignorance in the social and racial hierarchies of contemporary South  Africa. The scales could also symbolise the balance between good  and bad.
  • The tight rope: The Justice system in South Africa is sometimes  seen as unfair and unjust. The blindfolded figure that walks on the  rope represents the people of South Africa who are trying to create  a balance in their lives.
  • Images in the background: There is a mosaic of graffiti images in  the background of the artwork. Bushman images, forgotten people,  a naval officer, a hand grenade representing violence, clenched fists  and a repetitive mask of a Star Wars character is visible in the  background. They could represent the diversity of society. There are  definite spray-painted words all over the artwork.
• Different styles in the artwork: The female figure is portrayed in a naturalistic manner; however, it has stylistic characteristics like simplification and pop/cartoon like imagery. Stencilling has been used in  the background.  

TEACHING TOOL: Witbooi is renowned for his 'Afro-pop' collage style paintings. Witbooi lists Picasso and Asha Zero as his  influences. He coined the word 'pap-art' – being 'pap' the traditional  poor staple food in Southern Africa – to define his personal  approach to contemporary art as a self-taught artist. 

• Comment on the message the artist wanted to convey: 

Lady Justice is an allegorical personification of the moral force in  judicial systems The message could represent women fighting for  equality in South Africa. The blindfolded female figure represents  women in today's society who are handcuffed by the law/man. She  is portrayed breaking free from discrimination be it the law or  prejudice/bias/stereotyping. She is blindfolded while trying to find her voice  in society and is expected to abide by the law. She is balancing all the  roles that are expected from women in today's society. It can also represent the balance between good and evil. (10) 
6.2 Candidates must analyse the work of any TWO artists they have studied  whose works comment on the post 1994 identity of South Africa. 
They may use the following ideas in their answer: 

• Content of artworks and images
• Medium, style and techniques
• How the artists reflect their own questioning of the world and the spaces they occupy in South Africa, both physically and emotionally. (10) [20]

QUESTION 7: GENDER ISSUES: MASCULINITY AND FEMININITY 

7.1 Candidates must discuss the above statement and write an essay in which  you comment on the manner in which these gender boundaries are being questioned/pushed. You must refer to FIGURE 7a and b as well as any TWO  artists they have studied, who comment on gender. Answers must be  Substantiated. 
They may use the following as a guideline in their essay: 

• Significance of colour :

FIGURE 7a: Contrasting colours have been used in the clothing of the  female figure e.g. oranges and turquoise. The burnt orange/brown  panels of interior and her dress are very similar in terms of colour. The  colour of turquoise ribbons is repeated in the vase on the left hand  side of the painting. The white blouse becomes the focal point of the  painting. The figure is sitting on a pink coloured cushion which  represents and symbolises femininity 
FIGURE 7b: The intense dark background (chiaroscuro) contrasts with  the light skin of the figure. The figure is portrayed in ladies garment  however the colour blue traditionally refers to masculinity. A red rose is  attached to the garment, usually representative or symbolic of love  and virginity.  

• Imagery and the possible interpretations thereof:

FIGURE 7a: It is a portrait of a seated lady dressed in a white top and  wide red patterned skirt. Her reflection indicates that she has a cell phone in her left hand; however, the seated figure is not painted with a  cell-phone but rather a broom in the opposite hand. There is a contrast  between the past and present technology. The use of mirrors creates  an illusion of space and perspective. She is also adorned with  jewellery that is a combination of both modern and traditional. Her hair  is neatly tied back with fabric/ ribbon. In her left hand she holds a  small handmade grass broom symbolic of domestication. A woven  traditional basket is placed next to the vase which is usually used as a  storage item. A slaughtered chicken is seen hanging in the  background of painting which still needs to be cooked and served. She  is represented in an ornate interior with gilded frames and a decorated  mantelpiece which suggests wealth. The porcelain vase on the left has  turquoise bands and images of cattle. Cattle, which represent wealth, are often used as lobola payment in African wedding ceremonies. The  portrait can be compared to those portraits painted by the Neo Classical artists. 
FIGURE 7b: It is a self-portrait by the artist who is dressed in ladies' slip/undergarment. He has a tattoo on his left arm, which looks like a  bird symbolic of freedom. Tattooed men are often regarded as being  masculine, brave and daring. The red rose which is attached to the blue garment symbolising virginity or femininity. The gesture of the  figure is very similar to that of Leonardo Da Vinci's ' St. John the  Baptist'.  

• How the artists portray the attributes of masculinity and/or femininity
  • Comment on the play of word 'chic(k)' in the title of  FIGURE 7a: 

In the title the 'k' in Chick is inverted and can refer to the  chicken in the background that still has to be cooked and  served. 'Chick' is a word commonly used by males to address  women. She looks 'chic' meaning that she is smartly dressed  with an elegant flair. Although women can be chic, they are still  expected to complete their daily domestic tasks.  

• • Significance of the clothing:  

FIGURE 7a: The female figure is dressed in a white blouse and  red/burnt orange skirt. She has turquoise ribbons draped  around her which contributes to her femininity. She wears a  bangle on each wrist and a ring on her left hand. The jewellery contributes to making her feminine.  
FIGURE 7b: Although this man wears ladies' underwear he is  still portrayed as masculine. It is as if the artist wants to  emphasise the fact that clothing does not determine gender.  The shoulder strap on the left shoulder is falling off symbolising  sensuality. The rose is also a middle aged symbol of virginity. It  seems as if he is posing for a photo or performing on stage. 

• • Mood created through facial expressions: 

FIGURE 7a: The female figure is looking at the viewer seeming  to pose for a photograph. She is comfortable and looks as if she  is used to being the lady of the house. A soft, feminine mood is  created by her eye contact with the viewer. 
FIGURE 7b: The male figure has a slight drooping mouth  which makes him look self- conscious. A sad and melancholy  mood is created. The subject matter is very similar to Picasso's  paintings of circus people.  

• Relevance of the posture/gesture:

 FIGURE 7a: The figure has a very relaxed, yet sensual pose.  Her right hand frames her face as if she is posing for a  photograph.  
 FIGURE 7b: The figure is in a standing position and his hands  show/portray feminine gestures. [20]

QUESTION 8: ARCHITECTURE IN SOUTH AFRICA 

8.1 By referring to the above statement and the images in FIGURE 8a and 8b,  candidates must write a short essay in which they comment on how 'new  architecture' is being used for shelter and accommodation in South Africa. 
They must respond to the following in their answer: 

• The positive and negative aspects of using shipping containers as  the answer to the South African housing crisis. 

Positive aspects: In South Africa, the housing crisis can be solved by  using strong, safe, shipping containers in townships/rural areas. Squatter  camps can be upgraded by replacing the unsustainable cardboard and  plastic with a stronger structure like a steel container. On site  construction is eliminated as these containers can be modified and the  interior be completed beforehand. The containers are stable and solid and can be piled on top of one another. Due to their strength containers  provide safe housing solutions.  
Negative aspects: The steel containers are very heavy and therefore  difficult to transport. The modifications of the units are also expensive.  Once the container has been delivered it cannot be dismantled. 

• Compare FIGURE 8a and 8b by discussing the aesthetic appeal of  both buildings due to their modification. 

FIGURE 8a: The building in FIGURE 8a was created by modifying shipping  containers and stacking them on an old unused mill. The containers are  equipped with windows and extended balconies. The roof is accessible and  a circular structure can be seen which could be used as extra living space. 
Painting them in various colours create a Neo- Modernistic feel. Suspended  balconies form a contrast to the flat façade and create extra space. The  round cement mills contrast sharply with the angular, brightly coloured  shipping containers.  
FIGURE 8b: It is a minimalistic house propped up on grey concrete beams.  The building has a free façade, ribbon windows, an extended  balcony/veranda. The panels of glass allow light to enter the building as well  as the integration of the interior and exterior. The building has a flat roof. 

• If you had the opportunity to live in a shipping container what  modifications would you suggest in making your home as functional  as possible? 

Shipping containers are versatile and can be modified to suit all individual  preferences. The containers can be painted in numerous colours or left as  is. A roof garden can be added to the top levels for growing greeneries as  well as solar panels to generate electricity. Units can be added on when  needed. For safety, smaller windows can be used. Alternatively, large  glass walls can replace a steel wall to integrate the interior and exterior.  
The candidate's own response will be considered. (8) 
8.2 Candidates must discuss the work of any architect they have studied whose  work reflects a new approach to architecture that could satisfy the needs of an  ever growing South African society. 
They may use the following guidelines to support their answer: 

• Site and positioning  
• Use of building materials 
• Design and functionality  
• Inspiration and influences  
• How the architect has specifically addressed/considered the needs of  South African society. (12) [20] 

TOTAL: 100