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).

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.

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.

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.

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

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.

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.

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.

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).

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