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Doctor of Philosophy (PhD) / The overall aim of this research was to examine aesthetic response to façade colour. Drawing on a range of theories and studies from environment-behaviour studies (EBS), Nasar’s (1994) probabilistic model of aesthetic response to building attributes provided a theoretical framework within which to examine patterns of response. Prompted by the Development Control Plan for Sydney Regional Environmental Plan: Sydney Harbour Catchment (NSWDOP, 2005), this research also linked its aims and methods to planning policy in Sydney. The main research questions focussed on whether changes in aesthetic response are associated with variations in façade colour; and whether changes in judgements about building size, congruity and preference are associated with differences in façade colour. A quasi-experimental research design was used to examine patterns of aesthetic response. The independent variable was represented by four façade colours in two classifications. An existing process, environmental colour mapping, was augmented with digital technology and used to isolate, identify and manipulate the independent variable and for preparation of visual stimuli (Foote, 1983; Iijima, 1995; Lenclos, 1977; Porter, 1997). Façade colour classifications were created from extant colour theories (including those of Albers, 1963; Hard & Sivik, 2001 and Itten, 1961). The façade colour classifications were further developed using F-sort and Q-sort methodology (Amin, 2000; Miller, Wiley & Wolfe, 1986; Stephenson, 1953). Ten dependent variables, linked to overall aesthetic response, were drawn from studies relating to environmental evaluation, building congruity and preference (Groat, 1992; Janssens, 2001; Russell, 1988; Russell, 2003; Russell, Ward & Pratt, 1981; Wohlwill & Harris, 1980). The dependent variables were presented in the form of a semantic differential rating scale and a sample group of 288 evaluated the visual stimuli. The Latin-square technique was used for the controlled presentation of visual stimuli. Factor analysis, correlation analysis and analysis of variance were applied to the data. The findings indicate that variations in aesthetic response are associated with differences in façade colour. Judgements about building size varied by up to 5% and buildings featuring contrasting façade colours were judged to be larger and more dominant. Judgements about a building’s congruity varied by up to 13% and buildings that featured harmonious colours were considered to be more congruous. Preference varied and harmonious façade colours were not necessarily preferred over contrasting façade colours. The outcomes from this research suggest that a new approach to façade colour within the context of planning policy may be appropriate. A model of façade colour evaluation is presented and, unlike current planning guidelines, the model allows for a participatory approach to façade colour evaluation and specification. The model allows for factors that may influence aesthetic response to façade colour (such as contextual, perceptual and idiographic factors) as well as variation in architectural expression with respect to façade colour.

Doctor of Philosophy (PhD) / The overall aim of this research was to examine aesthetic response to façade colour. Drawing on a range of theories and studies from environment-behaviour studies (EBS), Nasar’s (1994) probabilistic model of aesthetic response to building attributes provided a theoretical framework within which to examine patterns of response. Prompted by the Development Control Plan for Sydney Regional Environmental Plan: Sydney Harbour Catchment (NSWDOP, 2005), this research also linked its aims and methods to planning policy in Sydney. The main research questions focussed on whether changes in aesthetic response are associated with variations in façade colour; and whether changes in judgements about building size, congruity and preference are associated with differences in façade colour. A quasi-experimental research design was used to examine patterns of aesthetic response. The independent variable was represented by four façade colours in two classifications. An existing process, environmental colour mapping, was augmented with digital technology and used to isolate, identify and manipulate the independent variable and for preparation of visual stimuli (Foote, 1983; Iijima, 1995; Lenclos, 1977; Porter, 1997). Façade colour classifications were created from extant colour theories (including those of Albers, 1963; Hard & Sivik, 2001 and Itten, 1961). The façade colour classifications were further developed using F-sort and Q-sort methodology (Amin, 2000; Miller, Wiley & Wolfe, 1986; Stephenson, 1953). Ten dependent variables, linked to overall aesthetic response, were drawn from studies relating to environmental evaluation, building congruity and preference (Groat, 1992; Janssens, 2001; Russell, 1988; Russell, 2003; Russell, Ward & Pratt, 1981; Wohlwill & Harris, 1980). The dependent variables were presented in the form of a semantic differential rating scale and a sample group of 288 evaluated the visual stimuli. The Latin-square technique was used for the controlled presentation of visual stimuli. Factor analysis, correlation analysis and analysis of variance were applied to the data. The findings indicate that variations in aesthetic response are associated with differences in façade colour. Judgements about building size varied by up to 5% and buildings featuring contrasting façade colours were judged to be larger and more dominant. Judgements about a building’s congruity varied by up to 13% and buildings that featured harmonious colours were considered to be more congruous. Preference varied and harmonious façade colours were not necessarily preferred over contrasting façade colours. The outcomes from this research suggest that a new approach to façade colour within the context of planning policy may be appropriate. A model of façade colour evaluation is presented and, unlike current planning guidelines, the model allows for a participatory approach to façade colour evaluation and specification. The model allows for factors that may influence aesthetic response to façade colour (such as contextual, perceptual and idiographic factors) as well as variation in architectural expression with respect to façade colour.

The concept for this paper and for my thesis comes from a personal desire to facilitate cross-cultural interaction in a space. I began by questioning whether architecture can bring together people from different backgrounds and cultures, and if so then what type of architecture does this? And how does it do this? I believe the city is a psychological as well as physical reality. The city exists as a series of doubles; having official and hidden cultures, it is both a real place and a site of the imagination. Its elaborate network of streets, housing, public buildings, transport systems, parks, and shops is paralleled by complex attitudes, habits, customs, expectancies, hopes and popular culture that reside in us as urban subjects. (Cbamber5 I. ( 1986) Popular culture, the metropolitan experience, USA; Methuen & Co. P. 183) I believe that public architecture should represent and reflect popular culture in order to arouse and attract people together in a space. By doing so, the art and magic of architecture becomes accessible to the general populace. Architecture is a public art whereby the creator of the work should think of designing for pleasing the people on the street as much as pleasing the client of the project. A building that is able to communicate with people adds depth to people's lives and daily experience. I am interested in architecture which makes you fantasize, dream, marvel, act, jump in fountains, climb up walls of buildings, lose your inhibitions, and break taboos in society. A work of architecture thus becomes a stimulus for discussion, exchange and pleasure. This study is my opportunity for developing a number of ideas about popular architecture as well as to express my own love of vibrant popular places in order to enable creative design for my architectural thesis. Through this theoretical investigation I hope to discover innovative ways of realizing my concepts of building for 'the people'; of giving the people what they would like to see in a public building. I believe that fascinating structures can be made for the built environment by applying knowledge from popular culture.

Sixteen years after the abolition of apartheid, South African society may be democratic and free, but do all persons live together in harmony and with equal opportunities? The initial interest of the M Arch (Professional) Architectural Project is the issue of persistent socioeconomic and spatial segregation and inequality in South African society and cities today, and the role architecture can play towards socioeconomic and spatial transformation. South African cities, looking at Cape Town in particular, are faced with many problems common to developing countries. These include an increase in population, rapid urbanisation, poverty, homelessness, joblessness, inadequate resources, meagre living conditions in informal settlements and poorly functioning and unsustainable urban settlements that do not function to benefit the population as a whole. In addition to these problems is the issue of segregation amongst people from different socioeconomic, class, cultural and racial backgrounds. This stems from a long and complex history dating as far back as colonial times through to the apartheid era, the effects of which are deeply embedded in post-colonial and post-apartheid South African societies and urban environments. Architecture and planning played an intrinsic role in the spatial manifestation of the apartheid regime, and to some extent contemporary architectural projects continue to ensure apartheid's legacy. Architecture thus, in response, holds the potential to initiate a shift towards socioeconomic and spatial equality in South Africa today.

This thesis project began with an interest in public space and particularly the role of collective urban memory in reading and understanding public space in the city, as well as being a means of imbuing public space with meaning. This is closely linked to ideas of shared experience, identity and legacy. These ideas are widely discussed and debated in the making of architecture in our post colonial, post apartheid context. My interest is in the development of inclusive collective memories and how these histories become part of the everyday life of the city. Architecture and urban design play a key role in the spatial and physical expression of collective urban memory. This paper represents the body of work undertaken during this year long thesis investigation and provides the introduction to the architectural design project borne out of this research. The first part provides a theoretical basis for the project. Firstly it investigates the spatialization of memory in the human brain and relates this to the ways that collective memory has spatial implications in the urban environment. It also explores the development of a theory for collective memory. Secondly this section investigates the role of architecture in collective memory and reviews the typoolgies of memory architecture through examples of these typologies at work in Cape Town. It also reveals the development of memory architecture, in particular the 'museum ' through the ages. The second part of the paper is an exploration into the technology or making of buildings, and particularly looks at the role of time in the 'making' of architecture. This section is representative of my interest in the life story of buildings and investigates the way they change, adapt and are recycled or re-used over time. It considers the potential of flexibility (flex buildings) in creating sustainable architecture. This section also compiles the strategies, methodologies and lessons into a manifesto for sustainability through flexibility and therefore has been a useful design tool in the final parts of the thesis project. Part three is a study of urban memory in Cape Town, focussing particularly on the narratives and histories surrounding the original Cape shoreline. This particualr focus was chosen as it provides a platform for an inclusive history, comprising of multiple narratives and memories. It is representative of the natural history of Cape Town (landscape, climate, water) and the human history of indigenious inhabitants, early explorers, colonial immigrants, convicts and slaves. This section represents the compilation of archival research, literature searches, site exploration and mapping exercises, which provide the basis for the later design project. The fourth part of this paper represents the design component of the thesis. It elucidates the different parts of the design project and the research and analysis which provide the groundwork for the design. This section does not represent the final design, but rather illustrates the key design ideas, concepts and processes which will lead to the final design proposal.

This thesis demonstrates how architectural design can be used to help alleviate the current environmental crisis, using a radical sustainable approach that integrates high density living and farming activities within the context of suburban planning. In South Africa, population growth and urbanisation have led to low-rise low-density buildings invading . bio diversity nodes, valuable arable land, and natural reserves on the periphery of cities. Not only are the infrastructural costs of servicing these low-density suburbs very high, but the pollution caused by daily commuting to and from the workplace has lasting environmental consequences. Continuing deforestation is needed to create new arable land; at the same time, ploughing and shipping within the agricultural sector make a significant contribution to global pollution, while up to 70% of potable water is lost through evaporation during irrigation. The architectural approach on which this thesis is based, integrates the usually separate components of living and farming, into a single closed high-rise entity, called the Living Tower. Taking a cue from ecosystem dynamics, a Living Tower model was developed to mimics the natural process whereby the waste of one entity becomes the food of another, creating an efficient cyclical flow of resources. In this way, renewable resources comprise the heart of the life-giving and life-sustaining Tower. Analysis of earlier designs based on similar principles is used to identify key elements of the Living Tower. These include amongst other integrated stacked greenhouses, evaporative coolers, an anaerobic digester, a central atrium design and a living machine (eco restorer). Living Tower models of differing heights are compared and evaluated in terms of their sustainability and efficiency. A thirty storey Living Tower is shown to provide the optimal solution to the core environmental issues considered, including the renewal of natural resources and the reclaiming of arable land. The corresponding diagrams, calculations and graphs illustrate the potential impact on both nature and society of a thirty storey Living Tower. This innovative design solution focuses on shaping the landscape with contextual reference in order for the Tower to 'grow' out of the hills and include a variety of mixed used programs in the form of living, working and playing to enhance social interaction. Through the design solutions the Living Tower successfully combines higher living densities and an ecologically friendly lifestyle in a structure that is economically viable, aesthetically pleasing, and therefore using architecture for sustainable future growth.

We live in a society that is constantly in change. As society moves forward, we experience social, political and economic shifts that somehow prove difficult for our buildings to survive in this rapid change. My Interest therefore looks to adaptive reuse as an approach to dealing with the change in our built environment. How do you deal, in an urban setting, with a neglected urban fabric without compromising Its historical and architectural memory which becomes important to a community? How do we begin to engage with the built fabric? It begins with accepting that transformation needs to occur. Adaptive reuse ensures the evolving life of any old building by expanding its practical use in its contemporary context. Existing and abandoned buildings represent a substantial resource. Through adaptive reuse, many buildings can continue to be brought back into use and contribute to a more sustainable development pattern. Old buildings in my opinion possess a timeless character. The aim of this document is to Investigate the potential of adaptive reuse as a response in transforming an existing structure on the brink of neglect into potentially a space that could be reused and function in a way that it supports the community and promote social engagement. The design and research develops a theoretically informed and sustainable approach to recycling built fabric in its contemporary urban context by linking patterns of adaptation and reuse to the change experienced in the contemporary built environment.

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