Thesis (MDram (Drama))—University of Stellenbosch, 2005. / This study wishes primarily to explore re-positioning the H.B.Thom Theatre as a cultural amenity in the Stellenbosch region. The first step was to place the building of the H.B. Thom Theatre in 1966 in the context of the cultural and political dynamics of the time as well as to trace the cultural politics of the Western Cape in particular during the turbulent years leading to the first Democratic Elections in 1994. The question is asked, to what extent do the changes in the political climate and cultural thinking impact on the use of this important, regional arts facility? A Cultural Impact Study was made to evaluate the scope of cultural production in the region. Alongside this regional study, the past and present utilisation of the H.B.Thom Theatre as such has been thoroughly documented, processed and discussed. Areas of concern regarding the utilisation of the theatre in particular and possible solutions in meeting these concerns have been integrated into the study. The appropriate management structures and artistic vision leading to the establishment of the H.B.Thom Theatre as a Regional Arts Centre have been researched and detailed as well as mechanisms for its incorporation into the University of Stellenbosch’s broader Strategic Framework.

M. Tech. Architecture (Professional) / This thesis encompasses the research and subsequent building design of a Design Centre in Sunnyside Pretoria that specializes in the Applied Arts. This educational training facility will form part of a larger arts precinct. This can be achieved by integrating the immediate surrounding areas in a similar manner as that of Arts on Main in Johannesburg. The proposed project is located in an existing (but not fully developed) arts and design precinct in Sunnyside known as Oeverzicht Arts Village. The anchor facility of this complex will be the Design Centre, offering training and education in Industrial and Product Design, Fashion and Footwear Design, Cabinet making or Joinery, as well as other related arts for approximately 240 students. In light of the above approach, the project also entails the design of the surrounding public spaces, as well as the design of the complex as a precinct within the urban context. The site is located on a prominent corner where Berea, Sunnyside and the Central Business District intersect; it is located on the Nelson Mandela corridor which is one of the main arterial routes that feed the city. There is a cluster of residential buildings that were retained from the 1950's when most of the Sunnyside residential buildings were demolished to accommodate high-rise residential developments. These houses have a unique character within the urban context, which is currently obscured because of their scale compared to the surrounding buildings. The placing of the new development on the corner of the site gives it the necessary historical prominence within the current urban context.

The concepts "capital building" and 'Institutionalisation" are analysed and applied to community arts centres as instruments for socio-economic development (SED) in South Africa. Theories of neo-classicism, Marxism, development economics and socio-economic development show that building physical, financial, human, social and cultural capital in a complementary configuration is crucial to sustainable socio-economic development. The concept "capital building for SED" is formulated in this regard. New institutional economics and critical extensions of this theory show that institutions play a key role in capital building for SED, as they entail embeddedness, normativity, e-ntreprcneurship, partnership, structure and complementarity. The arts sector contributes considerably to capital building for SED, in particular arts centres in marginalized communities in the UK, USA and South Africa. Community arts centres built political, cultural and human capital in black townships during the South African democratic struggle (1950-92). In accordance with proposals from the arts sector, the post-1994 South African government developed 42 arts centres. However, the contribution of most old and new centres to socio-economic development appears to be insignificant and few are sustainable. The causes of failure are difficult to explain due to lack of information and theory. Through the application of a theoretical framework to the South African arts sector and three case studies the hypothesis is tested that community arts centres can contribute considerably to capital building for SED if they are appropriately institutionalised, while an appropriate focus on capital building for SED results in stronger institutions. An analysis of arts sector shows that strong institutions achieve high returns on investments in capital building, but that few benefit the poor. The application of an analytical matrix consisting of indicators of the above-mentioned five types of capital and six institutional components, shows significant positive correlations between the levels of inslitutionalisation and capital building for SED in the Community Arts Project, the Katlehong Art Centre and ArtsforAIl. The findings result in recommendations on policy and practice of community arts centre development in South Africa. / Development studies / D. Litt. et Phil. (Development Studies)

The concepts "capital building" and 'Institutionalisation" are analysed and applied to community arts centres as instruments for socio-economic development (SED) in South Africa. Theories of neo-classicism, Marxism, development economics and socio-economic development show that building physical, financial, human, social and cultural capital in a complementary configuration is crucial to sustainable socio-economic development. The concept "capital building for SED" is formulated in this regard. New institutional economics and critical extensions of this theory show that institutions play a key role in capital building for SED, as they entail embeddedness, normativity, e-ntreprcneurship, partnership, structure and complementarity. The arts sector contributes considerably to capital building for SED, in particular arts centres in marginalized communities in the UK, USA and South Africa. Community arts centres built political, cultural and human capital in black townships during the South African democratic struggle (1950-92). In accordance with proposals from the arts sector, the post-1994 South African government developed 42 arts centres. However, the contribution of most old and new centres to socio-economic development appears to be insignificant and few are sustainable. The causes of failure are difficult to explain due to lack of information and theory. Through the application of a theoretical framework to the South African arts sector and three case studies the hypothesis is tested that community arts centres can contribute considerably to capital building for SED if they are appropriately institutionalised, while an appropriate focus on capital building for SED results in stronger institutions. An analysis of arts sector shows that strong institutions achieve high returns on investments in capital building, but that few benefit the poor. The application of an analytical matrix consisting of indicators of the above-mentioned five types of capital and six institutional components, shows significant positive correlations between the levels of inslitutionalisation and capital building for SED in the Community Arts Project, the Katlehong Art Centre and ArtsforAIl. The findings result in recommendations on policy and practice of community arts centre development in South Africa. / Development studies / D. Litt. et Phil. (Development Studies)

Thesis (MTech. degree in Architecture)--Tshwane University of Technology, 2011. / The aim of the thesis is to design a contemporary art centre in the inner city of Pretoria in the museum district of the Tshwane Metropolitan Municipality, to provide space for South African artists to exhibit and to expose more people to the arts.

M.Tech. (Architectural Technology) / Alexandra's Far East Bank, formerly an apartheid buffer zone, is caught up in a reactive process by government to provide both housing and public transport. This process has resulted in a segregated relationship between the Marlboro Gautrain Station and the adjacent Reconstruction and Development Programme (RDP) housing scheme. The station is completely cut off from the immediate community by a perimeter fence with 24-hour security. This further entrenches the division between the Gautrain commuters and surrounding community. This forced physical relationship sets up an opportunity to design and create a space that aims to straddle the current socioeconomic gap. After on-site investigation and research, a This project would be the first catalytic response to the City of Johannesburg’s Regional Spatial Development Framework (RSDF) for Region E (CoJ 2009/10: 149). The