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The use of modernism in Afrikaner Protestant Church design in Cape Town's northern suburbsLiebenberg, Deon January 2014 (has links)
Thesis (MTech (Architectural Technology))--Cape Peninsula University of Technology, 2014. / The growth of Cape Town's northern suburbs during the first few decades of the twentieth
century is closely related to the socio-economic history of local Afrikaners who, during this
time, left the farms to seek employment in Cape Town's industrial areas. Most of them
settled in or near these industrial areas, causing the expansion of the northern suburbs.
The first railway line in Cape Town, which was inaugurated in 1862, passed through
Bellville on its way from Cape Town station to its terminal point in Eersterivier. The first
official station at Bellville was only built in 1882, however, and a stop in Parow only
followed in 1903The first Bellville town council was established as recently as 1922
(Bergh, 2009: 5-6). This is an indication of how sparsely populated this area was at the
time.
The Dutch Reformed Church has traditionally played a central role in the cultural and
spiritual life of Afrikaners, and consequently the establishment of Dutch Reformed
churches in the northern suburbs stands in clear correlation to the growth of Afrikaner
populations in these suburbs (see below). Because of the low population of the Parow and
Bellville areas, Dutch Reformed Church members living there were initially part of the
Cape Town congregation, and, from 1832 onward, part of the newly established
Durbanville congregation. It is only in April 1900 when, in the Bellville area, numbers had
increased considerably, that monthly services were held in a school building. By 1920
membership had grown so much that weekly services had to be held. In 1922 a church
hall with 300 seats was inaugurated (Bergh, 2009: 7-8). Local services in Parow were only
instituted in 1905, with the first church building, a Neo-Gothic structure, following in 1907.
In 1917 a separate congregation was established in Parow (i.e. separate from the
Durbanville mother congregation), with Bellville following suit in 1934. Goodwood
congregation became independent in 1926, having separated from Parow (Van Lill, 1992:
6-9; Bergh, 2009: 8). In subsequent years, as numbers increased, numerous other
congregations were established after separating from these three mother congregations,
most of which built Modernist churches. The first Dutch Reformed church built in the Goodwood-Parow-Bellville area was the old
Parow church. This building no longer exists, but it was built in the Neo-Gothic style
which had been current throughout the 19th century, and which was still, at the beginning
of the 20th century, the accepted traditional style (see Le Raux, 2008: 21). The Rondebosch Dutch Reformed church, for example, was built in this style during the last
decade of the 19th century. (The southern suburbs, which include Rondebosch, had
developed gradually over the previous three centuries, and by the early 20th century were
well established, leaving relatively few prospects for working class Afrikaners to settle
there).
At the beginning of the 20th century, with the emergence of a nationalistic consciousness
in the wake of the Anglo-Boer War (1899-1902), there was a fervent search for a 'true'
Afrikaans church architecture. This search was lead and directed by Gerhard Moerdijk
(1890-1958) and Wynand Louw (1883-1967). They emphatically rejected the Gothic style
for various reasons. Firstly, because it was designed around the Roman Catholic liturgy
and was therefore unsuitable for Protestant worship, and secondly, because it is
historically identified with the growth and expansion of the Catholic Church and therefore
also with the persecution of Protestants, including that of the Huguenots who fled to the
Cape to become ancestors of many Afrikaners (Le Roux, 2008: 22).
However, if this style was indeed so offensive to Huguenots because of its Catholic
associations, it would possibly not have become so popular during the 19th and zo=
centuries. These Neo-Gothic churches are, in fact, unmistakably Protestant in the
austerity of their interiors which could not be mistaken for a Catholic Gothic church interior
with its abundantly rich ornamentation and sacred imagery. Likewise, the exteriors of
these Neo-Gothic churches are distinctly Protestant in their reserved use of
ornamentation.
Nevertheless, Gothic churches were originally designed around the Catholic liturgy and
consequently their layout does not serve the Protestant liturgy well. Here Moerdijk makes
a very valid point, and one which would be taken up by subsequent architects as well as
writers (see Chapter Seven below).
Moerdijk, in his published writings, upholds Classicism and the Renaissance as examples
worthy of following (Le Roux, 2008: 22). The resulting new style which he and Louw
pursued from the 1920s onwards, and which became enormously popular, is generally
referred to as sentraalbou (due to its centralised floor plan) (see Le Roux, 2008: 25-28).
Later writers on Afrikaner Protestant church design tend to stress the supposed Byzantine
ancestry of this type of church (see below).
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Die neerslag van Art Deco in Suid-Afrika as manifestasie van 'n internasionale tydgees en styl, met spesifieke verwysing na die argitektuurVan der Linde, Willemina, Dorfling, Willemina 03 1900 (has links)
Thesis (PhD)--Stellenbosch University, 2000. / ENGLISH ABSTRACT: The term Art Deco is derived from the renowned 1925 exhibition that took place in Paris,
France namely L'Exposition des Arts Decoratifs et Industriels Modernes and only came about
in 1966. It refers to the style that developed during the 1920's and reached a climax in the
1930's.
Art Deco was a modernistic style and part of the Modern Movement. Many transformations,
mixtures and ramifications of the style exist. The appearance of the style ranged from the
avant garde to the classic. It was a complete and total style that manifested in diverse areas
of the material and spiritual culture, for example furniture design, clothing, motor design and
especially in architecture.
The era between the two World Wars was characterised by a vast technological progress
which was put to use in creating Art Deco products. The era was distinguished by new
materials and building methods that reflected the modernistic time spirit. The roaring twenties
was the age of the emancipated woman, known as the flapper and the age of cocktail parties,
jazz and Charleston. It was an exciting era where man attempts to escape the sorrows of the
previous world war.
Art Deco was the prevailing style in architecture during the 1920's and 1930's. It was the
style that was applied in architecture in Europa, Asia, Britain, America, New Zealand,
Australia, Africa and particularly in South Africa. The most outstanding feature identifying
Art Deco buildings was the emphasised verticality in facades. Further features of Art Deco
buildings are the features of horizontality and curved lines and rounded corners which created
a streamlined appearance. Ship style elements such as porthole windows and ship rails that
showed an influence of expressionism were commonly used in Art Deco architecture. The
ziggurat shape or stepped back building masses was used frequently. Geometrical shapes,
parapets, flat roofs and the zigzag chevron motive were incorporated in designs. The Art
Deco-style manifested in all areas of the South African architecture during the applicable
Stellenbosch University http://scholar.sun.ac.za/
years. It embraced public, commercial, residential, entertainment, sport and recreational,
ecclesiastical, industrial buildings and monuments.
Although South African buildings often were of smaller format, they were fully fledged Art
Deco buildings within the context of an international style. South African Art Deco buildings
often had their own character due to local building materials such as South African marble
and sandstone. South African architecture made its mark on the style of the ornamentation
by the usage of local fauna and flora as decorative motifs. A definite manifestation of the
Art Deco style occurred in South African architecture as an international style. South African
Deco occupies a special place within the international Art Deco style, because of the
contribution of the predominant local character. / AFRIKAANSE OPSOMMING: Die term Art Deco is afgelei van die wereldbekende 1925-uitstalling wat in Parys,
Frankryk plaasgevind het, naamlik L'Exposition des Arts Decoratifs et Industriels
Modernes, en het eers in 1966 in gebruik gekom. Dit verwys na die styl wat gedurende
die 1920's ontwikkel het en 'n hoogtepunt in die 1930's bereik het.
Art Deco is 'n modemistiese styl en vorm deel van die Modeme Beweging. Daar bestaan
vele vervormings, vermengings en vertakkings van die styl. Die gedaantes wat die styl
aangeneem het, het van die avant-garde na die klassieke gewissel. Dit was 'n volkome of
totale styl wat op diverse terreine van die stoflike en geestelike kultuur tot uiting gekom
het, byvoorbeeld in meubelontwerp, kleredrag, motorontwerp en veral ook in die
argitektuur.
Die tydperk tussen die twee wereldoorloe was tekenend van snelle vooruitgang op
tegnologiese gebied, wat aangewend is om Art Deco-produkte te vervaardig. Die era is
gekenmerk deur nuwe materiale en boumetodes wat die modemistiese gees van die tyd
weerspieel het. Die roaring twenties was die era van die geemansipeerde vrou, bekend
as die flapper en die era van skemerpartytjies, jazz en Charleston. Dit was 'n opwindende
era waarin die mens van die ellendes van die voorafgaande Wereldoorlog probeer wegkom
het.
Gedurende die 1920's en 1930's is die Art Deco-styl in argitektuur in Europa, Asie,
Brittanje, Amerika, Nieu-Seeland, Australia, Afrika en in die besonder in Suid-Afrika
aangewend. Die belangrikste kenmerk waaraan Art Deco-geboue geidentifiseer kan word,
is die van beklemtoonde vertikaliteit in fasades. Verskeie kenmerke waaraan Art Decogeboue
gekenmerk word is die elemente van horisontaliteit, geronde hoeke en lyne wat
'n vaartbelynde voorkoms skep. Skeepsstyl-elemente soos die van patryspoortvensters en skeepsrelings wat 'n invloed van ekspressionisme toon, was algemeen in Art Decoargitektuur.
Die ziggoeratvorm of trapvormige terugplasing van boumassas is vrylik
gebruik. Geometriese vorms, borswerings, platdakke en die sigsag chevronmotief is in die
meeste Art Deco-ontwerpe geinkorporeer. Die Art Deco-styl het op alle terreine van die
Suid-Afrikaanse argitektuur gedurende die toepaslike jare 'n neerslag gevind. Dit sluit
openbare, kommersiele, residensiele, vermaaklikheids-, sport en ontspanning, kerklike,
industriele geboue en monumente in.
Alhoewel Suid-Afrikaanse geboue dikwels 'n kleiner formaat as oorsese geboue
aangeneem het, was dit volwaardige Art Deco-geboue binne die konteks van 'n
internasionale styl. Plaaslik het die styl wel 'n eie karakter aangeneem, veral weens die
gebruik van plaaslike boumateriale soos marmer en sandsteen. Ook wat die omamentele
aspek betref, het Suid-Afrikaanse argitektuur sy eie stempel op die styl afgedruk aangesien
Suid-Afrikaanse flora en fauna as versieringsmotiewe gebruik is. Daar het 'n definitiewe
neerslag van die Art Deco-styl in Suid-Afrikaanse argitektuur plaasgevind, wat dit
onbetwisbaar 'n manifestasie van 'n internasionale styl maak. Suid- Vfrikaanse Deco neem
'n besondere plek binne die internasionale Art Deco-styl in, waartoe die besondere
plaaslike karakter baie bydra.
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The shaping and picturing of the `Cape' and the `other(s)' : representation of the colony, its indigenous inhabitants and Islam during the Dutch and British colonial periods at the Cape (17th-19th centuries).Toffah, Tariq. 05 February 2014 (has links)
Th e Dutch (VOC) trading empire of the seventeenth and eighteenth
centuries brought with it to South Africa not only the world of powerful
merchant capitalism, but it would also construct a new imaginative
geography and order of the land to that which had been known by its
ancient inhabitants, wherein the very idea of the land would be rewritten.
Many aspects of this new geography would be refl ected in representation
during VOC rule in the Cape colony, in its maps, pictures and drawings.
Within this picturing of the land, the rival indigenous presence as well
as the colony’s non-settlers inhabitants—both of whom formed colonial
‘others’—would also be depicted; although typically this visibility would
be carefully measured and managed in complex ways in both offi cial
and popular artistic representation.
While offi cial colonial and apartheid archives in South Africa lack
suffi cient, meaningful representation of marginalised groups such
as blacks, slaves, Muslims, and indigenous people, the visual sources
wherein such groups are depicted constitute another source of archive
which has still only begun to be explored comparatively and as a body
of images.
Th rough visual sources, the study analyses fi rstly the discursive,
imaginative, and physical appropriation of landscape as represented in
Dutch and British colonial-period maps and pictures in the seventeenth
to nineteenth centuries. Secondly it explores the representation of
colonial ‘others’ who are depicted therein, and to what extent it may
be possible to recover some aspects of marginalised narratives and
spatial practices. Islam at the Cape, whose history dates back to the very
beginning of European settlement but which was offi cially proscribed
for the most of the colonial period, also forms an important component
of the study, as a case study of such ‘liminal’ narratives and landscapes.
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From ashes to life: a skin cloning laboratory and rehabilitation centre for burn victims in South Africa.Adelfang, Jacqueline Martina 10 September 2014 (has links)
This document is submitted in fulfilment for the degree:
This document is submitted in fulfilment of the degree : Master of Architecture (Professional)
at the University of the Witwatersrand,
Johannesburg, South Africa in the year 2013.
in the year 2013 / Fire is part of our everyday life. As the relationship between man and fire grows,
so does the danger of using it. In South Africa, the power of fire is unfortunately
and commonly underestimated, resulting in more victims falling prey to the
fire fiend. Facilities that provide specialized treatment for burn victims are
limited. This includes treatment of the burn wound (cloned skin) and latent
rehabilitation using physical and psychological therapy.
The design of a building specialized for the needs of burn victims has been
proposed. The facility will be mixed use and multi-functional: it will be a 2-part
building consisting of a Skin Cloning Laboratory and a Rehabilitation Centre
in Johannesburg. The site selected is located behind the Charlotte Maxeke
Hospital (Joburg Gen). The site was chosen for its views, hospital connection
and relationship to the Wits University Medical Faculty. The organic design was
derived from the concept of “skin and the landscape”. The facade depicts the
“element of water” and grows out of the excavated rock face wall.
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Early architecture at the Cape under the VOC (1652-1710) : the characteristics and influence of the proto-Cape Dutch periodFitchett, Rowallan Hugh January 1996 (has links)
A thesis submitted to the Faculty of Architecture, University of the Witwatersrand,
Johannesburg, in fulfilment of the requirements for the degree of Doctor of Philosophy
Johannesburg, 1996 / This thesis is set within the historical context of the commercial empire of the VOC
(Dutch East India Company), which established a refreshment post for its ships at the
Cape of Good Hope, South Africa, in 1652.
The central proposition of the thesis is that the architectural principles established at the
Cape between 1652 and 1710 had a greater influence on subsequent developments than
has previously been acknowledged.
This proposition challenges the widely accepted theory that Cape Dutch architecture
developed as an evolution from vernacular beginnings. Re.search in the field to date has
focused largely on Cape Dutch buildings, dating from after the mid-18th century, and
on later survivals of vernacular types. As a result the buildings erected prior to 1710,
defined here as proto-Cape Dutch, have been largely ignored.
To redress this imbalance, the thesis investigates the proto-Cape Dutch period in its
own right, by presenting the widest possible range of building types erected during this
period. Since few of these buildings survive, the evidence for the thesis was derived
largely from archival material. This comprised three types of contemporary sources:
the official records of the VOC, the written accounts of visitors to the Cape, and the
drawings of visiting artists. Some sources were clearly unreliable, but in several cases it
was possible to reconcile evidence which initially appeared to be contradictory.
The interpretation and evaluation of this research is addressed in Part 1 of the thesis.
The architectural evidence is presented in Part 2, where the process of analysis and
reconciliation is revealed. This process facilitated the detailed reconstruction of some of
the more prominent buildings of the proto-Cape Dutch period no longer in existence.
The thesis contends that such buildings, with sophisticated plans and Renaissance
proportions, were the stimulus for the development of Cape Dutch architecture later in
the 18th century.
The thesis thus comprises three major components: the development of a research
method; the re-evaluation through this method of a number of buildings known
primarily from documentary sources; and the proposition based on this re-evaluation
that Cape Dutch architecture was a simplification of the precedent established by the
more sophisticated buildings of the proto-Cape Dutch period. The method employed
and the conclusions drawn from the evidence may suggest applications in similar
colonial circumstances elsewhere.
LIST OF KEY WORDS
Cape Dutch architecture - Civil engineering works - Dutch colonial architecture -
Fortifications - Hospitals - Non-residential buildings - Proto-Cape Dutch architecture -
Religious buildings - Residential buildings - Town planning / WS2017
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Peripheries: the role Architecture plays in creating resilient societiesModikoane, Lebogang January 2016 (has links)
The basis for this dissertation is to seek and develop a sustainable model that will
encourage social sectors to thrive and be re-energised into sustainable, selfsufficient
entities. It will explore the role architecture plays in creating resilient
societies as well as how, through positive interventions, architects can become
re-generative catalysts to provide stability, security, healthy environments and
overall well-being. The aim is to design a catalytic educational development
in an under-developed area to test how when planning holistically, Architects
and their architecture, can inject growth and development in challenged social
environments. Using Resilience as a focal lens, ideas of Place Making, Education
and Society, encapsulated in Economy, this dissertation will demonstrate how
a positive intervention can ultimately lead to a homogeneous resilient place
and society.
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Investigating selected retrofitted and reused buildings in Johannesburg to determine their economic and environmental impact.Steyn, Cornelia J. January 2014 (has links)
M. Tech. Architectural Technology / This research project focuses on determining the costs involved in applying energy efficient green technologies and sustainable principles to Johannesburg's existing commercial building stock. Although South Africa is committed to contributing toward greenhouse gas reduction in terms of the Kyoto Protocol, such contribution unfortunately occurs at a slow pace. Although the current built environment is identified as a key element in the mitigation of climate change, developers and building owners argue that the associated costs remain the largest drawback. Retrofitting existing buildings to meet green standards could significantly contribute to mitigating climate change.
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Sustainable development : the adoption of principles of sustainable development by the architecture and construction industry of South Africa.Blore, Murray. January 2006 (has links)
Sustainable development has been variously defined as: "the simultaneous pursuit of economic prosperity, environmental quality, and social equity" (Gissen 2002:185), and as society's ability to meet its current needs and fulfil its greatest potential without compromising its ability to address its needs and potentials in the future (WCED 1987). It is a far reaching concept which calls for action by the entire spectrum of society. It implies a focus on more than just financial profits, and is more holistic and systemic than simple environmentalism. Approaches to the subject differ depending on the global context, that is, the North sees the issue as leaning more toward conscientious environmental resource use and rehabilitation, whereas the South sees sustainable development more in terms of providing for the basic needs of the poor, which often takes priority over doing so in an environmentally and economically sustainable manner. Implementation of sustainable development tends to be implemented by governments in a number of ways, firstly by moving the indicators of development away from Gross Domestic Product and toward more holistic indicators such as Quality of Life indicators, in order to internalise factors that are typically considered external to normal economic pricing factors. The implementation of sustainable development into the architecture and construction industry requires architects to be aware of the issues involved and the solutions available. Then clients need to be educated in their role in the process, with particular emphasis on the advantages available to them. These advantages include lower running costs, improved corporate image, and improved worker contentment and productivity. Practical measures for sustainable architectural design are primarily environmental in nature, and include water, energy, and material resource efficiency, as well as indoor environmental quality. These can however, largely be validated in economic terms. Existing literature that are intended as 'design guides', are however, lacking in practical measures in which to implement the more social and economic sides of sustainable development, and for that, the designer needs to look toward various architectural assessment tools, of which South Africa's Sustainable Building Assessment Tool is useful because of the broad scope of its approach. Built examples have demonstrated greatly improved environmental performance in buildings, as well as improved worker and client satisfaction. In terms of architectural quality, they range from offices which look very similar to other 'non-sustainable' offices built in the North, to a more experimental and low-tech approach practiced by a number of architects from the South, which see this approach as an opportunity for a new architectural expression. Sustainable architecture requires acknowledging sustainable development goals from the very start of the project. Following this, the interrelationship between different components of a design is examined, particularly with respect to allowing advantages attained from one component or system to benefit other systems. A holistic approach of concurrently focusing on environmental, social and economic factors will be shown to benefit all of these factors rather than just the one being designed for - for example, environmental interventions can have economic benefits. Because of the wide scope of factors that need to be considered, it will be found that often there are conflicting issues. This can be resolved through analyses such as life-cycle-analysis and value judgments can be made by comparing different solutions. / Thesis (M.Arch.)-University of KwaZulu-Natal, 2006.
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The role of textiles in sustainable South African residential architectureDe Flamingh, Francois January 2011 (has links)
Thesis (MTech (Design))--Cape Peninsula University of Technology, 2011 / Sustainable architecture prescribes the conscious consideration and active contemplation of
ways of meeting the housing needs of humans while attempting simultaneously to prevent
our consumption patterns from exceeding the resources at our disposal. Sustainability in the
built environment is infinitely complex as the very nature of modern architecture is based
upon the extraction and exploitation of finite natural resources to feed a linear system
ultimately ending in the depletion of those resources and the destruction of the ecosystem
from which they are excavated. When considering built environments, the most visible and
measurable components of any sustainable design is its ecological and economic
sustainability. Social sustainability, on the other hand is of an unquantifiable nature, making
it a most contentious topic in design and development discourse.
This thesis uses a systems approach to sustainable architecture as a lens to focus on the
practical applications of structural concepts made possible by the integration of textiles in the
built environment and examines possibilities of adapting and incorporating vernacular and
low-tech textile-based construction methods into contemporary sustainable architecture.
More specifically, it explores the possibilities of using architextiles, or textiles in the building
industry, as a vehicle for advancing sustainable development within the emerging economy
of South Africa with its unambiguous diversity in all three bottom lines of sustainability;
environment (ecology, resources, geography, built environment), society (community,
culture, politics) and economy (employment, wealth, finance, industry, infrastructure,
consumer behaviour).
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Oorsprong en manifestasie van die Suid-Afrikaanse hartbees- of dakhuis : 'n kultuurhistoriese studie (Afrikaans)Raath, Johannes Jacobus 21 December 2005 (has links)
AFRIKAANS: Hierdie verhandeling is ‘n studie van hartbees- of dakhuise, wat van 1652 tot in die 20ste eeu in Suid-Afrika voorgekom het. Jan van Rie¬beeck en sy gesin het aanvanklik (1652) in ‘n tydelike dakhuis in Tafelbaai gewoon. Dakhuise is deur die vee- en Trekboere, asook die Voortrekkers na die uithoeke van die land versprei. Die gevolgtrekking waartoe deur die studie gekom word is, dat die begrip hartbeeshuis dakhuise, ontwikkelde dakhuise en (lang)muurhuise vir tydelike bewoning insluit. Die dakraamwerk van die bootvormige dakhuis het uit ‘n vurkondersteunde-nokpaalkonstruksie bestaan. Drie dakraamtipes het by die wigvormige dakhuis voorgekom, naamlik die gaffelsuilondersteunde-nokpaalkonstruksie, vurkondersteunde-nokpaalkonstruksie en die kapstylraamwerk. Geen bewyse ter ondersteuning van die bestaande teorie oor die oor¬sprong van die term hartbeeshuis kon gevind word nie. Tydgenootlike getuienis het tot die gevolgtrekking gelei dat die oorsprong van die term hartbeeshuis met die vorm van die inheemse boksoort, die hartbees verband hou. Die Suid-Afrikaanse dakhuise toon direkte ooreenkomste met die millennia-oue Wes-Europese dakhuistradisie, waarvan die vorm en konstruksie ten spyte van geografiese verskille min of geensins verander het nie. Die lande van oorsprong en die prototipes word aangewys, waarna die Suid-Afrikaanse eweknie ten opsigte van die vorm, materiaal en konstruksie - met in beg rip van streekverskille - beskryf word. In die slotbeskouing word die betekenis van die dakhuis as Westerse woning, asook die bewaring daarvan kortliks in oënskou geneem. ENGLISH: The study focuses on the history of the South African hartbeeshuis or roof dwelling dating from 1652 well into the 20th century. For the first few months in Table Bay, Jan van Riebeeck and his family had to reside in a temporary roof dwelling. Roof dwellings were distributed through South Africa by the migrating stock-and cattle-farmers and eventually by the Voortrekkers. The conclusion of the study is that the concept hartbeeshuis refers to roof dwellings, developed roof dwellings and the temporary long walled house. The roof structure of the boat-shaped roof house consisted of a primary tong-support. The framework of the wedge-shaped roof dwelling takes one of three forms: it may consist of two forked uprights carrying a ridge tree against which the sides lean; it may consist of two pairs of sloping poles which cross at the apex to carry the ridge tree; or it may consist of a series of paired couples. No evidence could be found to support any of the existing theories regarding the origin of the term hartbeeshuis. Contemporary evidence confirms that the term is associated with the shape of the indigenous antelope, the hartbees. The South African roof dwelling correlate with the oldest building traditions in Western Europe. In South Africa, the basic shape and construction of the roof have only experienced little changes on a regional level. The various prototypes and the countries of origin are highlighted. The South African counterparts are described according to their shape, construction materials and technique. The study concludes with the significance of the roof dwelling as a Western dwelling type and the conservation thereof. / Dissertation (MA (Cultural History))--University of Pretoria, 2007. / Historical and Heritage Studies / unrestricted
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