The old Queen Victoria Maternity Hospital building on the periphery of Constitutional Hill tells a new story as it houses the work of creatives in Johannesburg.
The Transwerke building, which was a branch hospital originally administered by the Johannesburg Hospital from 1913, was built in 1904 in Doornfontein and could accommodate 50 patients.
This is according to historian and author of Johannesburg Then and Now, Marc Latilla, who said it was designed by Gordon Leith in 1939 in the art deco style.
“There is a strong similarity between Leith’s architectural work on the main block of the old Johannesburg Hospital [built in] 1936 and the design of the maternity hospital. He designed several buildings in the complex for nurses, midwives and other medical staff, all in a similar style,” said Latilla.
“Owned by the Gauteng provincial administration, the Transwerke building, as it's known today, received a 'black plaque' in 2017 to highlight the neglected and dilapidated state of the building. It closed in 1983 after the maternity services moved to the newly opened Johannesburg General Hospital complex in Parktown (known as Charlotte Maxeke today).”
In 2015, a tender was put out for repurposing and renovating the building before the “black plaque” award.
It is now home to the Black Red Series artwork by Lerato Motau who tells the story of township coal traders who provided energy and warmth and fostered an economy on their own since the days of her childhood.
“We were scared of these men who would go around the township on horse carts with their faces, clothes and hands covered in soot, going door-to-door selling coal.
“I have grown to appreciate their impact in the community and how they kept us going,” said Motau.
The artist from Orlando West, Soweto, said the red in her work is attributed to the red houses in her street that became a landmark for many.
Her other work of black women in “doeks” is her way of coming to terms with the symbolism behind women covering themselves.
“I used to struggle with the idea that women have to wear doeks as daughters-in-law and I thought it was oppression. But now I see it is merely a way of setting ourselves apart and a sign of respect and recognition from both ends.
“I am dyslexic so visual art is how I express myself. Coming from a family where my father was a carpenter and my mother someone who was proud that I was in art school, I have found home in my work,” Motau said.
What sparked this particular body of work was the depression she went through during the Covid-19 lockdown.
“This work is a testament that things pass and I am telling myself all is well.”
Floyd Morapedi Manotoana, owner of Floyd Avenue Apparel, said the growth of his business dictated that he move to a bigger space easily accessible to his clientele and the Transwerke building became a viable option.
“It has worked in our favour. We've been able to increase our capacity by onboarding young fashion graduates into the business and they can travel easily to get to the studio as it's in the CBD.
“I've worked in silos for the span of my career and moving to a space where there is a litany of creatives, from different disciplines, invested in each other's success, gets us better opportunities,” said Manotoana.
We’ve developed the building as an NGO-dominant community that’s full of spaces and places for tenants to interact – think roof-decks, informal meeting rooms, courtyards and lounges
— Josef Talotta, South Point
He defined his clothing line as a contemporary urban streetwear brand.
“We use cultural cues to inspire androgynous pieces that rise above trends, impeccably tailored for unadulterated comfort, quality finishing and exquisite designs,” Manotoana said.
The building also houses creatives such as the Hub Hive, ArtAid, IKSAfrica and BuzFactor, whose work ranges from public relations, to music, events and art.
Another example of a building inventively being reused is the South Point corner which used to be the Heerengracht building.
Josef Talotta, South Point’s executive head of commercial and precinct development, said this has become home for a collective of blue-chip NGOs in the city such as Section27, Corruption Watch, Norwegian People’s Aid, Earthlife Africa, Africa Groups of Sweden, Swiss Arts Council and Lawyers for Human Rights.
“We’ve developed the building as an NGO-dominant community that’s full of spaces and places for tenants to interact — think roof-decks, informal meeting rooms, courtyards and lounges.
“It was built in 1966, designed by architect Max Silverman, who designed many of Braamfontein’s mid-century office blocks, creating a subtle district language. It was previously known as Heerengracht and we’ve kept the old signage, creating an artwork in our courtyard,” Talotta said.
He added that as with many other retail developers, they have had to navigate the post-Covid-19 realities with creative thinking and flexibility.
“In our Braamfontein retail core, which is now largely vacant, we’re applying new thinking, using the low vacancy rates as a clean canvas opportunity to create magic that will include a forward-thinking retail mix, student-focused concepts, a community food hall and repurposed alleyways.”
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