Thesis (Master of Marketing)--Cape Peninsula University of Technology, 2019 / This thesis sought to investigate students’ preferences regarding university accommodation. The object was to identify the aspects and elements of housing that students deemed most desirable. The research also aimed to ascertain which socio-demographic variables might serve as predictors of preference in student housing. The thesis focused on student housing at a university in Cape Town, South Africa. The researcher adopted a stated preference approach, applying direct measurement and conjoint analysis methods to answer the research questions. The study commenced with qualitative exploratory research, including a literature review and focus group interviews with students. This was followed by collection of cross-sectional quantitative data using person-administered, structured questionnaires distributed among students at the university. SPSS software was used to analyse a total of 457 completed questionnaires. The direct measurement results indicated that most students prioritised convenience, safety, cost and privacy when it came to choosing accommodation. The three most important attributes as ranked by respondents were having unlimited free WiFi, the inclusion of a 24-hour computer lab in the building, and 24-hour on-site security. In addition, respondents favoured the presence of a convenience shop/kiosk in the residence, followed by sharing showers with students of their own gender, and being within walking distance of campus. Preferences for some but not all the dimensions of accommodation appeared to be influenced by gender, age group and study level. When indicating their willingness to pay (WTP) for a variety of elements relating to accommodation, it emerged that the question of sharing the space in their room – their living and learning space – was very important to the students. The results showed that, apart from having unlimited WiFi and 24-hour on-site security, the aspects for which respondents were prepared to pay most concerned the private space of the individual, e.g. room privacy and room size, as well as having their own toilet and shower. WTP attributes also varied among students according to age group, gender and level of study. Results from the stated preference (conjoint) experiment analysis showed that students were most sensitive about the sharing of ablutions and number of roommates, strongly preferring private rooms and facilities, or sharing with fewer other students. Monthly rent is next most influential, followed by distance from campus. The model also showed significant differences in the preferences of students based on their gender. Research in this field is overdue because, owing to recent increases in the tertiary student population in South Africa, there is a growing shortage of student accommodation. Current and future student housing needs must be assessed, and any such assessment requires a thorough grasp of current student accommodation preferences. The results of this research thus contribute to the knowledge and understanding available to managers and developers of student accommodation regarding students’ requirements and preferences. The findings can serve as a set of guidelines for developers of student housing and as a foundation for formulating associated marketing strategies. Despite the existence of extensive research on student housing, few studies have focused on the preferences of students in developing countries, and even fewer in South Africa. This research seeks to fill this gap by increasing awareness and understanding of students’ preferences with regard to university accommodation.

Doctor of Philosophy / This thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. Through this thesis I develop two overarching and interconnected arguments. The first is that theatrical performance is profoundly affected by the features of backstage support spaces and by performers’ backstage practices. Building on this, the second is that a study of backstage spaces offers a particularly apposite approach to further understanding the ‘place’ of theatrical performers. I contend that the backstage spaces performers inhabit can be characterised by their very poverty and that these poor conditions testify to a widespread ignorance and ambivalence on the part of society at large towards performers’ needs. Furthermore, noting the way in which performers valorise their own abilities to compromise and adapt, I argue that backstage areas largely inform performers’ dominant discourses of professionalism and worth. Ultimately, I identify the ‘place’ of the performer as one of flux that necessitates the constant negotiation of significant tensions. [Please note: The photographic documentation and building plans referred to in the text of this thesis are not available online. Please contact the Department of Performance Studies at the University of Sydney or the Sydney eScholarship Repository.]

Doctor of Philosophy / This thesis presents a systematic investigation of the backstage spaces of theatres in the city of Sydney, Australia, combining the documentation of eight specific theatre buildings with ethnographic accounts of performers’ activities within them. As the title of the thesis suggests, my focus throughout is to better understand the ‘place’ of performers, the ways in which performers inhabit certain physical, social, and imaginative realms. Through this thesis I assess the impact of backstage spaces on performers’ work processes, their performances, and their own understandings of what it is to be a performer. To undertake this assessment I conduct a tripartite survey of the backstage spaces afforded performers, taking into consideration ‘perceived’ space (space as it is empirically measured), ‘conceived’ space (space as it is represented), and ‘lived’ space (space as it is experienced). Approaching this survey via Edward Casey’s understanding of ‘place,’ my analysis is informed by a range of theories, notably, spatial syntax analysis, discourse analysis, and phenomenology. Through this thesis I develop two overarching and interconnected arguments. The first is that theatrical performance is profoundly affected by the features of backstage support spaces and by performers’ backstage practices. Building on this, the second is that a study of backstage spaces offers a particularly apposite approach to further understanding the ‘place’ of theatrical performers. I contend that the backstage spaces performers inhabit can be characterised by their very poverty and that these poor conditions testify to a widespread ignorance and ambivalence on the part of society at large towards performers’ needs. Furthermore, noting the way in which performers valorise their own abilities to compromise and adapt, I argue that backstage areas largely inform performers’ dominant discourses of professionalism and worth. Ultimately, I identify the ‘place’ of the performer as one of flux that necessitates the constant negotiation of significant tensions. [Please note: The photographic documentation and building plans referred to in the text of this thesis are not available online. Please contact the Department of Performance Studies at the University of Sydney or the Sydney eScholarship Repository.]