In this dissertation I analyse and contextualise stereotypical notions associated with the concept of home, and what that constitutes, in the work of South African artists Antoinette Murdoch, Bronwen Findlay, Doreen Southwood and Penelope Siopis, each of whom displays a different perspective of the concept in their artwork. I further consider how these selected South African artists engage with the dichotomies surrounding issues of home and the gendered position assigned to women in this area. I address the strategies the selected artists use in bringing the realm of the private sphere into the public arena and how they transgress the boundaries of private and public spaces. In addition I consider how concepts of home are reflected in my own work and how they are informed by a feminist perspective. The choice of white female artists as the subject of this research is a conscious one, in that I wish to avoid an investigation into cross-cultural gendered subjectivities which will inevitably become entangled with questions of race, politics and culture. As western feminist thought often tends to ignore the specific experiences of ethnic groups located outside western cultural experience, my focus on artists whose context is in part shared by my own is intended to provide an insider perspective. In the context of this research, 'home' is defined as a traditionally acknowledged place where woman is identified in relation to domesticity and the family unit. The term 'home' is therefore partly applicable to a type of domestic environment regardless of its geographic and cultural associations. Home has been defined as a 'group of persons sharing a home or living space (whereas) most households consist of one person living alone, a nuclear family, an extended family or a group of unrelated people' (Scott and Marshall 2005:276). The home is regarded as a place of security where the most intimate of relationships takes place, but it is also an arena of complex human relationships associated with domestic, family, personal and cultural identity. The home is further regarded as a private space and as being somewhat inaccessible, as opposed to the public domain which is open to scrutiny. The home houses a corridor of emotion, however, and may often become a place of entrophy. A subtle shifting and subverting of the conventions which society places upon women and men to conform to particular behavioural constructs will be deconstructed to reveal the concept of home as a site where the boundaries between reality and illusion become blurred. My own artistic practice is concerned with the deconstruction of the home as an idealised space and the façade that often conceals a dystopian reality that lurks beneath such idealisation. I share assumed cultural and class values with the selected artists and will critique the subject from a personal perspective, in part as a self-narrative. Within the context of this research, the term 'middle class' is defined as 'the class of society between the upper and working classes, including business and professional people' (The Oxford English Dictionary 1994:509). / Thesis (M.A.)-University of KwaZulu-Natal, Pietermaritzburg, 2011.

This body of work began as an exploration of the University of Manitoba’s Southwood Lands (a former eighteen-hole golf course), with the intention of proposing something new for the site. However, analysis and critical thinking led to the realization that there was a need to not only look at the Southwood Lands, but also the entire Fort Garry Campus. The work evolved through a process of discovery, using a variety of methods from walking the site, documentation through photography, visits to the archives to uncover history, and mapping from afar. One of the underlying objectives was to highlight the importance of taking additional time to understand a place prior to making decisions, revealing what makes a place unique, where the opportunities are, and what has been hidden over time. The idea of a site being a blank slate is dismissed, drawing on the importance of found conditions in decision making. Looking deeper into a place also leads to a greater respect for what is already there. It is what we already have that is so often discarded, and seen as having no value in decision making (the natural areas in a city or the trees on a former golf course for example). It is also the ecosystems that are seen as scrubby and unkept that are the most complex systems and richest spaces for life. Once complex, biologically rich systems are erased there is no going back to them. It is the existing conditions that are worth taking the extra time to investigate, a process that must occur prior to making design decisions that seek to remove or make new. It is only though looking, and looking carefully with un-objective eyes, and an open mind, that design can truly enhance what we already have. This practicum works under the premise that landscape has value in its own right. The landscape is not empty space, not just a place to put buildings, not a luxury that can easily be cut from budgets, and certainly not something that can be considered an afterthought. Instead, landscape is valued as something which is working and active, an essential part of life on this planet that is becoming increasingly important with a rapidly changing climate. The intellectual foundation for organizing ideas around approaching the site have been interpreted from Christophe Girot’s ‘Four Trace Concepts in Landscape Architecture’. They are in this order: landing, grounding, finding, and founding. While Girot’s four trace concepts organize ideas around approaching the site, there are three underlying principles that guide the entire body of work: 1. Landscape as infrastructure and organizing system; 2. Design as a process of discovery; 3. Investigation through multiple scales of inquiry. A strategy for the Fort Garry Campus is where this work concludes, followed by reflections on the importance of context in design and the lessons learned throughout the practicum process.

This body of work began as an exploration of the University of Manitoba’s Southwood Lands (a former eighteen-hole golf course), with the intention of proposing something new for the site. However, analysis and critical thinking led to the realization that there was a need to not only look at the Southwood Lands, but also the entire Fort Garry Campus. The work evolved through a process of discovery, using a variety of methods from walking the site, documentation through photography, visits to the archives to uncover history, and mapping from afar. One of the underlying objectives was to highlight the importance of taking additional time to understand a place prior to making decisions, revealing what makes a place unique, where the opportunities are, and what has been hidden over time. The idea of a site being a blank slate is dismissed, drawing on the importance of found conditions in decision making. Looking deeper into a place also leads to a greater respect for what is already there. It is what we already have that is so often discarded, and seen as having no value in decision making (the natural areas in a city or the trees on a former golf course for example). It is also the ecosystems that are seen as scrubby and unkept that are the most complex systems and richest spaces for life. Once complex, biologically rich systems are erased there is no going back to them. It is the existing conditions that are worth taking the extra time to investigate, a process that must occur prior to making design decisions that seek to remove or make new. It is only though looking, and looking carefully with un-objective eyes, and an open mind, that design can truly enhance what we already have. This practicum works under the premise that landscape has value in its own right. The landscape is not empty space, not just a place to put buildings, not a luxury that can easily be cut from budgets, and certainly not something that can be considered an afterthought. Instead, landscape is valued as something which is working and active, an essential part of life on this planet that is becoming increasingly important with a rapidly changing climate. The intellectual foundation for organizing ideas around approaching the site have been interpreted from Christophe Girot’s ‘Four Trace Concepts in Landscape Architecture’. They are in this order: landing, grounding, finding, and founding. While Girot’s four trace concepts organize ideas around approaching the site, there are three underlying principles that guide the entire body of work: 1. Landscape as infrastructure and organizing system; 2. Design as a process of discovery; 3. Investigation through multiple scales of inquiry. A strategy for the Fort Garry Campus is where this work concludes, followed by reflections on the importance of context in design and the lessons learned throughout the practicum process.