The focus of this dissertation is on the exploration of interior environments subjected to constant change. This study will investigate the ability of interior design to relate and respond to internal and external influences in a way which represents the interior environment as one of spatial performance and experience. Responsive interior design is investigated in terms of change over time relative to temporal conditions through the adaptive re-use of the temporary structure Les Grandes Tables de l’île Seguin by 1024 Architecture as a travelling crafts exhibit and design development centre for Design Network Africa, a craft development initiative. The host building Les Grandes Tables de l’île Seguin will be altered from a single use, static interior environment to an active interior which is able to accommodate craft exhibitions, workshops and design studios as functions in sequential phases. The intention is to explore ‘timeliness’ in interior design and establish an enduring identity for the altered host building, which incorporates constantly changing, temporary identities influenced by varied locations, occupants and programmes. The host building, consisting of a structural framework and interior infill, provides the opportunity for exploration of an adaptable interior through conceptualising the environment as one of a permanent, enduring framework and specific, temporary infill. For the purpose of the study the project is investigated in one location, Sunnyside, Pretoria, with two different occupants from the Design Network Africa client body, and multiple phases portraying the different functions. / Dissertation (MInt(Prof))--University of Pretoria, 2014. / Architecture / MInt(Prof) / Unrestricted

The thesis will focus on documenting, analysing and interpreting the motifs for the ceramics of Rorke’s Drift Art and Craft Centre Ecumenical (Evangelical) Lutheran Church (RDACC ELC, often called ELC Art and Craft Centre, hereinafter referred to as ‘Rorke’s Drift’) which were donated to the University of KwaZulu-Natal by Mark Bernstein. It is hoped that local indigenous narratives and visual designs in relation to Basotho and Zulu cultural identity will be outlined in the form of a catalogue. All vessel forms in the Bernstein Collection (as it will be referred to in this thesis) will focus on the figurative works and iconographic signifiers that represent local cultures. Ceramic works by the following ceramists will form the main argument of my thesis: Gordon Mbatha, Dinah Molefe, Ivy Molefe, Ephraim Ziqubu, Lindumusa Mabaso and Joel Sibisi of the Pottery Workshop. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2012.

The Rorke's Drift Art and Craft Centre is examined in its historical context. In order to place the pottery workshop in the context of the Evangelical Lutheran Church (ELC) Arts and Crafts Centre, the history of the centre's other workshops, Fabric printing and Weaving as well as the Fine Art School will be compared and contrasted. The pottery workshop is investigated and compared with the printmaking of Rorke's Drift. A selection of Rorke's Drift ceramics from the Durban Art Gallery's collection has been selected and examined to determine some of the stylistic changes that have occurred in the Rorke's Drift Pottery studio from 1970 to 1994. Fifteen works appear in an illustrated catalogue which examines the imagery and stylistic content of each work. The similarities between the prints of Rorke's Drift artists and the ceramics are explored; gender issues are analysed. / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2005