Although much research has been conducted on the greening of universities in the international context, not many studies focus on this topic in the South African context. A literature overview also identified that there are insufficient guidelines for green buildings at South African universities. Even though the Green Star rating tool is implemented in South Africa, no set of guidelines for green buildings exits at South African universities. The development of guidelines for green buildings at Nelson Mandela Metropolitan is a challenge which needs to be investigated. From the literature overview, it was possible to develop a framework containing seventeen green building aspects which could assist in developing green building guidelines. For this study, a two stage process was used to obtain information to evaluate green building guidelines critically at South African universities. Green building guidelines, as available at South African universities, were firstly explored by conducting a content analysis of all South African university websites. The information available on South African university websites regarding green buildings was scant and only two universities, namely the University of Cape Town and the University of Pretoria, reported that they had a green building. Stage two in the research process involved the empirical investigation of guidelines for green buildings at Nelson Mandela Metropolitan University. The results of the descriptive statistics showed that most building guidelines were perceived as important, but difficult to implement. The building guideline that was ranked the most important was the design of buildings that required low levels of maintenance or were maintenance free. The building guideline that was ranked the easiest to implement was to save energy in general. Considering the 17 suggested aspects and the five groups identified, a proposed set of green building guidelines was developed. The data gathered in this study is important as it could be utilised by the university to develop and implement the proposed green building guidelines.

Dissertation submitted in partial fulfilment in compliance with the requirements for the Masters Degree in Technology: Fine Art, Durban University of Technology, 2013. / This paper documents and evaluates the use of ceramics as an aesthetic architectural element in Durban from 1914-2012 with special reference to James Hall (1916-2006), Andrew Walford (b.1942) and Jane du Rand (b.1969). These artists were selected because their work demonstrates a wide range of the use of decorative tiles and mosaics as aesthetic elements in Durban architecture over a period of more than fifty years. Reference is made to the historical use of tiles and mosaics as aesthetic architectural elements in Durban from 1914-1955 in order to provide a context to an investigation and evaluation of the contribution of Hall, Walford and du Rand to the use of tiles and mosaics as an aesthetic architectural element in Durban. The paper begins by highlighting the importance of this study, discusses the role of ceramic architectural adornment and defines terminology for the purpose of this research. In addition an explanation of the research methodology used, research questions and literature review is provided. The study is contextualised through an overview of the historical background of the use of ceramics (tiles and mosaics) as an aesthetic element in architecture. The importance of the use of ceramic elements in relation to architecture, as well as the different techniques and methods of production, are highlighted and related to contemporary practice. The overview provides insight into how the use of ceramic elements in the past has influenced the approach of contemporary practice. My contribution to the use of mosaics as an aesthetic architectural element in Durban and my art practice, in the form of an installation titled passage is discussed and evaluated. The paper concludes by noting that the historical use of tiles and mosaics as aesthetic elements in architecture persists in contemporary art practice. However, the methods of tiled mosaic production and tiled mosaic techniques have been revolutionised extensively. It is evident that, the use of ceramics as an aesthetic element in Durban architecture reflects, both a strong European design influence and a distinctive local identity. / Durban University of Technology Postgraduate Development and Support Directorate

Thesis is submitted in partial fulfilment for the degree of Master of Architecture (Professional) to the Faculty of Engineering and the Built Environment, School of Architecture and Planning at the University of the Witwatersrand, Johannesburg, 2017 / Throughout history, people have remembered their past through the dissemination of knowledge from one generation to the next. This transfer of ideas, history, culture and identity allows for the continuation of narrative to transcend the bounds of time and contribute to a rich memory landscape, that cultivates a unified perception of community memory. This is in turn, directly translated into the physical landscape. Architecture becomes the physical attribute of shared identity, and creates spaces where new memories can be made and the past, remembered. This idea of remembering and creating contextual memory is thus relevant to all people and communities, as it is a core principle in creating consensual outlooks. This premise permeates into the exploration that memory, as a passive device of remembering and an active node of creation and education, is a unifying agent within a community and is directly related to the surrounding architectural space. Cultivating the question of whether there is a correlation between memory and the architectural spaces in which it is created, and to what extent they influence each other? The investigation examines the various facets of memory and recall processes that affect the architectural landscape and in turn shape human perceptions surrounding it. This interplay between memory, architectural memory and human memory is a layered discourse that ultimately resulted in the finding that architecture and memory are linked in the way people remember and use space. The historically rich memory landscape of Fordsburg became the apt site choice which allowed these ideas to grow into an architectural response. This culminated into the idea of combining preschool and exhibition typologies, with specific allowances for photographic and community spaces. These programmes were unified through their relation to memory and the spaces in which they occur. The aim was to unify these programmes and create a space which encouraged learning and community integration, whilst commemorating the history and memory of the past in a dynamic and linked manner. The building aims at creating a positive architectural addition to Fordsburg by addressing the need for education within the community, whilst architecturally responding to facets of the past through the adaptation of the Lilian Road Art Studios, creating a palimpsest of built fabric that speaks to the continuation of memory making in architectural environments. This investigation and resulting building have demonstrated that architecture and memory are linked, and although this may not be the only way to link the two in a manner that speaks to the past, present and future is a response that amply describes the parameters in which they can occur. / GR2017

A thesis submitted to the Faculty of Engineering and the Built Environment University of the Witwatersrand, Johannesburg in fulfilment of the requirements for the degree of Doctor of Philosophy Johannesburg 2015 / Transformation in South Africa encompasses sociopolitical change towards racial equity and national unity, supported by sustainable growth. True social justice would require that the physical access to higher education of previously disadvantaged students also be undergirded by epistemological access. Regrettably, performance‐driven and outcomes‐based pedagogies often support students inadequately, resulting in attrition and slow transformation in the architectural profession. Architectural design involves complex problem‐solving skills, learned through individual mentoring in studio contexts, and demands intensive, critical engagement. Motivated students with good spatial aptitude from either previously marginalised communities or authoritarian backgrounds often possess lower dominant language skills. Students arriving with lower social capital are underprepared for the personal, cultural and academic demands of the course. This combination creates a larger zone of proximal development (Vygotskiĭ et al., 1994), resulting in underperformance and higher failure rates. In South Africa poor results are increasingly exacerbated by disparities between school and university education (Scott et al., 2013) and potentially affected by unrecognised internalised oppression. As a lecturer at the School of Architecture and Planning at the University of the Witwatersrand, Johannesburg, I confronted the challenge of opening up opportunities for successful outcomes to all students by embedding additional teaching and support into the first year design course. Instructional core theory (City et al., 2009) postulates that learning is centred in the instructional task and is effectively improved only by simultaneous attention to teacher knowledge and skills, responsive course content and improving student engagement. iii Transformational teaching requires applying this triumvirate on social, academic and professional planes. In this study architectural instructional tasks were designed to simultaneously teach academic skills, broaden the cultural discourse and facilitate social cohesion. This promoted support and peer learning to facilitate academic success in a diverse studio, while promoting fundamental transformation. These dynamics are inseparable. This thesis describes the strategies employed in my first year design studio from 2009 to 2011, using various interventions. Over three action research cycles, design studio engagement, social cohesion and student learning outcomes improved. These theorised strategies are summarised as a model for similarly situated professional learning classes in diverse settings.

Thesis (MTech. degree in Architecture (Professional))--Tshwane University of Technology, 2012. / The location of Mamelodi in close approximate to new developments of the eastern part of Tshwane makes Mamelodi a very attractive place for persons from rural areas seeking a better life. Although this area formally designated as a 'black townships', public infrastructure and community services do exists but access to certain civic and educational services are restricted. The proposed intervention aims to provide the community with access to the currently inaccessible civic and educational services by the introduction of a new Mamelodi East Thusong Service Centre and Information Resource Centre at the existing Pienaarspoort Railway Station in Mamelodi East. The proposed intervention acknowledges public space in an African context; the market street as public space typology and the informal trader as urban and architectural client by providing facilities required for a self-sustaining community. The activity driven intervention aims to evoke a sense of belonging to its user by establishing a dynamic, meaningful and unifying experience. A place where public space becomes the foreground and buildings serves as a mere backdrop for human activity.

Thesis (MTech. degree in Architecture)--Tshwane University of Technology, 2011. / The brief calls for a building that will provide facilities for the local community to wash, pack, and trade fresh produce which has either been grown in their backyards or in community gardens. The development should also provide facilities where the public can be educated in agriculture, communication, and business skills. The programme should incorporate a community hall together with facilities for social workers and government officials. Additional office space should be included for small businesses. The development should also provide facilities to empower the local community through education, and the opportunity to convert fresh produce into an economical benefit.

Thesis (MA)--Stellenbosch University, 2013. / ENGLISH ABSTRACT: During the 12th century the Ab Suger, a church leader from near Paris in France, initiated a new approach to church architecture, the Gothic style. He diverted from the existing traditions and utilized pointed arches as one of the basic components of the new style. Pointed arches, unlike normal arches, distribute load-carrying weight not only downwards, as normal arches do, but also sideways. Strategically placed flying buttresses can help neutralize the thrust to the sides and reduce the weight on walls. Walls no longer had to be massive and it became possible to utilize big parts of the walls for windows, which were filled with brightly coloured glass. The style deliberately made use of height and enclosed spaces as a design element, to an extent unknown until that time. For some four centuries cathedrals in this style were built all over Europe, before the style was replaced with the coming of the Renaissance. The 19th century saw the coming of a style of Gothic Revival. New building materials had become available and there were fundamental differences between the original Gothic style and the Neo-Gothic (or Gothic Revival) style. In some instances elements of the original style lost their functions and were applied in a purely decorative function in the Gothic Revival style. With the colonization of Africa, the Neo-Gothic style came to South Africa. It took root locally and became part of South African church architecture. Local conditions required that some adaptations be made and several varieties of the Neo-Gothic style became part of the South African architectural landscape. Many church buildings were constructed in South Africa in this style during the last century and a half. The ones older than sixty years enjoy some measure of protection under current legislation relating to heritage conservation. It became evident that within the variety of Neo-Gothic idioms a number of churches have become so simplified that only some characteristics of the style have remained. Throughout the study it was indicated how the significance of a building and its architectural style also impact on the non-material culture of a community. / AFRIKAANSE OPSOMMING: Gedurende die 12de eeu het ab Suger, ‘n kerkleier van naby Parys in Frankryk, met ‘n nuwe benadering tot kerkargitektuur na vore gekom wat later as die Gotiese styl sou bekend staan. Hy het afgewyk van bestaande tradisies en gebruike in verband met kerkargitektuur. Deur die aanwending van spitsboë is die afwaartse druk van ‘n kerk se dak gedeeltelik na buite verplaas, in plek van alles na onder. Strategies geplaasde boogstutte het die sywaartse druk geneutraliseer. Hierdie boumetode is saam met die gebruik van geribde gewelwe gebruik om die druk in so ‘n mate van symure af te haal dat die mure nie meer dik en sterk moes wees nie en dit moontlik was om groot dele van die mure met vensters van gekleurde glas te vul. Die nuwe styl het ingeslote ruimtes en hoë gewelwe gehad soos die Middeleeuse mens nog nie vantevore geken het nie. Vir sowat vier eeue lank het katedrale in dié styl oral oor Europa opgeskiet, totdat dit met die koms van die Renaissance deur ander style vervang is. In die 19de eeu het daar ‘n herlewing in die Gotiese styl gekom. Beter boumateriale was beskikbaar en die Gotiese Herlewingstyl het in sommige opsigte groot verskille met die oorspronklike getoon. Van die Gotiese boustyl se komponente is aangepas om totaal ander funksies te vervul. Verskeie aspekte van die Gotiese styl is slegs behou as versiering. Met die kolonisasie van Afrika het die Gotiese Herlewingstyl na Suid-Afrika gekom. Die styl het posgevat en versprei in Suid-Afrika maar plaaslike omstandighede het aanpassings daarvan genoodsaak en etlike variasies op die Neo-Gotiese tema het na vore gekom. ‘n Groot aantal kerke is in die afgelope anderhalf eeu in Suid-Afrika in hierdie styl gebou. Sommiges daarvan geniet ‘n mate van beskerming ingevolge Suid-Afrika se bewaringswetgewing. Hierdie studie fokus op kerkgeboue met Neo-Gotiese stylkenmerke in ‘n bepaalde geografiese gebied in Suid-Afrika. Daar is bevind dat van die variasies op die Neo-Gotiese styl so vereenvoudig het, dat daar slegs enkele stylkenmerke by hulle oorgebly het. Deurgaans is aangedui op watter wyse die betekenis van die kerkgebou en die styl daarvan ook die nie-tasbare kultuur van ‘n gemeenskap geraak het.

Thesis (MTech (Architectural Technology))--Cape Peninsula University of Technology, 2017. / In the developed Western world, the need to preserve buildings, including industrial buildings, is well established, and the many charters that exist for guidance for preservation of the built environment point to the necessity of preservation. It can be posited that many of South Africa buildings with industrial architectural heritage are being lost either through neglect, obsolescence, demolition or vandalisation. At an international conference, David Worth, the sole South African representative for the International Committee for the Conservation of the Industrial Heritage (TICCIH), stated that South Africa‟s industrial heritage has been neglected by the public, by professionals and academics, and by commercial and political interests. Läuferts and Mavunganidze make the point that South Africa continues to lag behind other countries in the preservation of and declaration of its industrial heritage. The purpose of this research was to investigate if adaptive reuse is a successful strategy to preserve industrial architectural heritage in South Africa. A further aim was to investigate whether adaptive reuse can be considered sustainable or „green‟ (in terms of the UN‟s sustainable development goals)

This essay is divided roughly into two main sections; in the first I have discussed the Tswana as a whole, their environment, their origins and their more recent history. In addition to this, I have tried to give a clear picture of their tribal political structure and economic activities, as well as their domestic activities, all of which are integrally linked to the kind of house form adopted by the Tswana. The last, and most important, part of the first section is a presentation of some of the earliest written descriptions of Tswana dwellings made by the first white travellers to enter Tswana territory. The second section takes the form of a presentation of findings observed during the course of personal field research undertaken in the Tshidi-Rolong village outside Mafikeng. This research was done by means of a number of questionnaires drawn up by myself and filled in on the spot with information supplied by house owners and sometimes the builders themselves. This survey was carried out largely at random, with several of the houses chosen arbitrarily because of an interesting feature which set them apart from other dwellings. This written information is backed up by a large bulk of visual information in the form of photographs taken personally, both of the dwellings in general, and of details of the houses. Although this essay may appear to be rather fragmented, my aim is to give a graphic account of changes in Tswana dwellings by comparing features of contemporary dwellings with those observed in the early nineteenth century. The fact that among the Tswana , the building style of one sub-tribe may vary slightly from that of another subtribe, has not affected my study to any large extent , since I was fortunate enough to have done my field research among a branch of one of the original groups, namely the Rolong, whose houses, along with those of the Tlhaping, were the first to be documented. Therefore, most of the differences which have occurred between the dwellings of the contemporary Tshidi-Rolong and those from the early nineteenth century are a direct result of the process of westernisation.

D.Litt. et Phil. (Library and Information Science) / Since the first library building was built in 1900 at the University of Stellenbosch no scientific study of library buildings as seen from the viewpoint of the librarian in the RSA has been done. No South African criteria for libraries at tertiary institutions exist, but SAPSE building norms have been available since the late seventies. The shift of priority from merely collecting information to providing information and updating developments in information and telecommunication technology, have resulted in the philosophy of the library building being adapted. With the primary problem area of the study being the functionality of the modern library building, in the RSA, the research area was defined according to period, type of library building and kind of institution. This study covers the period 1946 through 1983. A thorough literature study on the planning of libraries overseas and in the RSA has been conducted. The type of libraries analised in this study are the main library buildings at universities, teacher training colleges and technikons in use at the end of 1983. Eighteen university library buildings, nineteen teacher training college library buildings and seven technikon library buildings were considered. Each library has been visited and personal interviews were conducted with heads of libraries and senior members of the staff. The personal interview was supplemented by a structured questionnaire dealing with the history, planning, functional areas and the influence of technology on the building. This was completed during the interview. One university library did not occupy a planned library building in 1983. Two universities built two new main library buildings during the period thirteen universities built one each, while one expanded in linear fashion through several academic departments. At teacher training colleges ten new main libraries were constructed, one library was housed in a converted hall and eight were in temporary facilities. Three technikon libraries were in converted halls, three in temporary facilities and one in a library building which was built in 1923...