Kagiso Morake Histories and Theories of Architecture - ARPL3021 Portfolio by Kagiso Morake

K A G I S O M O R A K E 18 313 5 5 ARPL3021|Histories And Theories Of Architecture|Por t folio

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Histories and theories of architecture have been impacted by the evolving landscape and philosophies of the world. The use of old and modern techniques shape the new landscape that we now occupy. This course entitles us to re-imagine our history at large. We should not look at history as an instructor, but as an informer on how we can build a better world for everyone. â&#x20AC;&#x153;The history of architecture is the history of the struggle for lightâ&#x20AC;? | Le Corbrusier |

TABLE OF CONTENT SEMESTER 1 Project 1 - Counter/Publics Case Study Project 2 - Double Site/Sight

SEMESTER 2

Page 1 - 23 Page 1 - 14 Page 15 - 23

Page 24 - 30

Project 3 - Small Essay

Page 24 - 27

Project 4 - Open The Close(d)

Page 28 - 30

SKETCHBOOK

Page 31 - 37

Semester 1

Page 31 - 33

Semester 2

Page 34 - 37

PROJECT 1 | SEMESTER 1 COUNTER/PUBLICS CASE STUDY The project entails the understanding of a counter institutional space. The design characteristics of the new contemporary museum designed by SAANA are explored and interpreted. The exploration helps to gain insight on how a counter institutional space can form philosophies for not only the users but the community around at large. Different mediums of interpretation are used to either criticise or commend the design characteristics. 1

Established by Japanese architects Kazuyo Sejima and Ryue Nishizawa in 1995, SANAA is well known for their clean and modern aesthetic (Vitra, 2012). Their work exists in multiple contexts: down town New York, Lausanne Switzerland, Omotesandō,Tokyo. All of their projects use form in bold and expressive ways, but are resolved to a clear and simple whole with a muted material pallete. In 2010 SANAA were awarded the prestigious Pritzker Prize, the jury commended them saying: ‘The buildings by Sejima and Nishizawa seem deceptivelysimple. The architects hold a vision of a building as a seamless whole, where the physical presence retreats and forms a sensuous backgroundfor people, objects, activities, and landscapes.They explore like few others the phenomenalproperties of continuous space, lightness, transparency, and materiality to create a subtle synthesis.’

Vitra, 2012. SANAA

Kazuyo Sejima and Ryue Nishizawa (SANAA), the two Japanese architects brought their clean, simple and delicate design sensibility to the streets of New York in the New Art Museum.

Contextual Information The building was commissioned with the intention of creating a space in which contemporary art could be interpreted, studied and presenteda new art museum for ‘new art and new ideas’ (Newmuseum.org, 2020). This vision for a space of creative incubation and exhibition was driven by Marcia Tucker, former curator of the Whitney Museum of American Art. Marcia had noticed, during her time at the Whitney Museum, an increasing chasm between contemporary art tackling current social issues and legacy art by the ‘old masters’. She conceptualised a hybrid space where contemporary art/artists from different contexts, races, religions, sexual orientations could be exhibited in a way that inspires dialogue,debate and social change.A space whichepitomizes the New Art Museum’s core values to ‘reflect on our history, confront the present, and continue to imagine the future.’ (Newmuseum.org,2020) The building’s design began in 2002 and was realised five years later.

SANAA, 2007. Site Plan (edited)

Nestled between the brownstones of Lower Manhattan, the New Art Museumis a series of stacked white boxes, shifted off centre, like a chest of drawers.It stands out as the shifting light reflects off of its pure white/grey exterior.The building reflects the coming together of Japanese architects SANAA in downtown New York. 4

Key Design Characteristics: Built on a gritty plot along the Bowery (the oldest thoroughfare on Manhattan Island), the New Art Musuem had to fit a large program of spaces inside a rather small site (26.4m wide by 34m deep)(Milimet.com, 2020). Additionally, the architects did not want to create a tall, oppressive facade on the street alongside the New Yorkan ‘brownstones’. The design solution came quite intuitively- a large solid mass was split into seven white boxes (echoing the ‘box’ buildings of Lower Manhattan) which were then stacked off-center from one another like a ‘chest of drawers’ (ArchDaily, 2020). This subtle shifting of the boxes allows shafts of light to enter each volume ensuring artificial lighting is accompanied by natural light. In addition, the form of the museum creates terraces on the top two floors with panoramic views of New York. The museum greets its visitors with a rainbow coloured ‘Hell, yes!’ sign; an artwork by Ugo Rondinone which emblemises the courageous optimism surrounding the New Museum’s re-emergence in the contemporary art world, as well as, its history as the home of socially committed contemporary art (Newmuseum.org, 2020). Beneath the sign, a flat facade comes alive with a patterned anodized aluminum mesh that drapes over it. On cloudy days the building blends into the greyness, whereas on sunny days it glistens and stands out.

The ground floor of the museum is completely transparent to the public and serves as the thresholdbetween the street and the rest of the museum,here all of the functions in the lobby and backof-house are on display as a gesture of welcome to passersbys (ArchDaily, 2020). Within, the steelframe structure and service ducts are exposed which means the full volume of spaces can be experienced by visitors. These open, ‘white box’ spaces are designed to be as neutral as possible in order to give as much focus to the art being displayed as possible. Additionally, however, this choice also reflects the trademark clean and simple architectural language of SANAA and reiterates their fascination with the subtleties of architecture, namely in this building- light. As one ascends the museum through narrow staircases and lifts, large openings in the walls and slivers of windows in the ceiling allow for views across New York and permit natural light to enter the generous open spaces. Although all of the floors follow the same ‘white box’ aesthetic, changes in height and width affect the spatial experience on each floor and allow for art to be strategically placed in order to emphasize the work (ArchDaily, 2020). The building is both Marcia Tucker’s brainchild, as well as, a good example of the architectural prowess of SANAA (Newmuseum.org, 2020). A simple,clear statement of a building, which forms the backdrop for a colourful and complex world. 6

SANAA, 2007. Elevations (edited)

Programmatically, the building consists of: - a basement auditorium and services - four floors of public galleries - a fifth floor education centre - offices on the sixth floor - multi-purpose room on the seventh floor - mechanical services above 7

Kaufman, 2010. Auditorium

Kaufman, 2010. Entrance Lobby

Kaufman, 2010. Multi-Purpose Room

The building structure enables open interior space by using a steel truss system to carry load.

Visual access- although transparent on the ground floor, the museum is otherwise a white box shielded to the outside. This creates a sort of distancing between those who are inside and those who are outside. This could serve as a means of drawing people in but is also a silent cue of authority and prestige. Allowing those within the â&#x20AC;&#x2DC;castleâ&#x20AC;&#x2122; to view the city but resisting the reciprocal observation. 10

Alienation- The building is a foreign entity within lower manhattan. It does not draw from or reflect the material pallete or architectural style of its surroundings but seeks to be a stark fissure within the city. This is trademark of SANAA’s architectural style, and whilst it results in a prestine design object, it also distances the ‘contemporary’ from the ‘urban’.

Interactioon with the street- Interaction with the ‘street’- a diverse range of artworks/artists are championed at the New Museum. In this way the white box serves as a platform for New York’s lesser known artists to achieve ‘contemporary’ gallery status. But this difference also reinforces a mentality of the authority of art institutions to decide the difference between what is ‘street’ and what is ‘contemporary’. 12

The model reflects a conceptual understanding of the New Art Museum. The light steel frame is wrapped in a translucent dirty wrapper. This reflects the intersection of the prestine white gallery with the rugged streets of New York. The undulations are abstract depictions which echo the external adornments of the museum- a symbol of its willingness to both stand out and interact with the artof the city.

The detail model depicts the way in which light is filtered into the gallery whilst maintaining a level of visual privacy. The aluminium mesh is an external skin attached to the facade of the building. This action of cladding the museum takes the traditional â&#x20AC;&#x2DC;white boxâ&#x20AC;&#x2122; and uses light to articulate the facade. 14

PROJECT 2 | SEMESTER 1 DOUBLE SIGHT/SITE This project aims to explore a single object/institution as a double sight/site. It entails a critical thinking skill that is used to reimagine and develop a de-colonial spatial future. The cultural and aesthetic significance of a colonial-era Cape Malay kitchen is re-mapped based on the reading and findings of Gabeba Baderoon on slave modernities. Own interpretations are translated utilizing text, images and diagrams. These explore possibilities of re-mapping new boundaries of counter objects/institutions.

Task 1- Read & Trace The first question that should be asked is what is the kitchen? In the modern context the kitchen is a place of communal gathering, social gathering space, a place of explorations, and what our mothers always say, the heart of a home. It is indeed a location that one could map out. However, in the context of slavery it is known as “the dangerous context” of the enslaver, this is where Cape Malay food was created (Baderoon, 2009). The dangerous context being the relationship “intimacy” that was formed between the enslaver and the enslaved. This then explains the kitchen as a space of “exchanges, overhead information, shared food, and secrete knowledge” in the context of slavery (Baderoon, 2009). The kitchen was indeed a place of brutality, but this also became a space of constant instructions. Instructions coming from the enslavers were carried out by the enslaved in a manner of their own. The kitchen was a place the enslaved could be “subjectable and resistant” as there was a certain way in which Cape Malay food what prepared. Cape Malay food fused, “African, Asian, and Europeans customs” which had created new recipes. Recipes could also be regarded as a form of instructions, as this directs one to prepare a certain kind of dish by following certain steps. This suggests the instructions of movement that would be done in the kitchen to prepare Cape Malay food.

In Berni Searle’s performance of ‘Snow White’, she is seen naked and kneading dough. White flour is poured over her and this leaves traces of this white flour onto her skin which symbolizes the lasting impressions of the trauma that was caused by the enslavers to the enslaved. The performance illustrates thepicturesque of the vulnerability of the black body. The impressions will stay with the body and this is suggested in the performance that the “presentations and rituals of the food do not evade memories of violence and resistance” (Baderoon,2009).

Berni Searle, Snow White,2001. Aware, 1998

Task 2- Defenition Abstract â&#x20AC;&#x153;The Unknownâ&#x20AC;? The image here is used to define the unknown. The traces or the impressions created by the white flour projects the unknown and lasting impressions. There is a pattern that is created doing this, which shows the imprint of the body on the floor. Though the body is subtracted from the performance this does not take away the fragility and the brittleness of it. The kitchen would be a place the enslaved would also feel fragile and brittle.

Juxtaposition “Identity” “Problems crop up because in many cases my identity was made for me” -Berni Searle. The enslaved were instructed to do certain duties in the kitchen, this made them form an identity of cooking. Cape Malay food became an identity for them. This identity was formed by “African, Asian, and Europeans customs” (Baderoon, 2009) The enslaver gives instructions to the enslaved, but the recipes give instructions to the body. The enslaved can show presence by the preparation of food, which comes with taste and smell. The senses are enhanced by these flavours that have become their identity.

Fragment “Two Oceans” The oceans (Indian Ocean and Atlantic Ocean) are seen as “cruel” in this context. What is derived from this is that there is memory that is lost to the oceans but there is also memory that is gained. The enslaved has gained memory of cooking through the movement of their bodies not only in the kitchen but also in the ocean. They were moved from different parts of the world and brought to the Cape. The oceans are translated in the Cape Malay food as “a way of recovering the presence and the modernity of the slave lives” (Baderoon, 2009). The movement of kneading the dough would symbolise the waves in the ocean that were moving the ships the enslavers and the enslaved came with to the Cape.

Task 3- Manifesto “Interior design isn't really about which wallpaper you use or what the finishes are. What it is, above all, is a choreography. It's about how people move in a space, what they do.” -Gwenaël Nicolas The concept of the recipe book being a means of giving instructions to the bodies of the enslaved is important. The recipe book does not only give instructions to the enslaved for that short period of the preparation of the meal, but it makes the movements a habit. The movement habits that they develop becomes a daily choreography to the enslaved. How could we use this in understanding interior designing principals and movement around a space? Taking this into the modern context. The kitchen is the heart of a home and this is because it’s the most experimental and free space. The different meals, smells, textures, tastes, and colours make this space very vibrant and a good tool in understanding interior design.

After that, the mind and body are in harmony and can, therefore, repeat the process without any reference to a recipe book. Our movements and minds create a pattern design that becomes some sort of an extension of our bodies (Rodemann,1999). Interior design is framed by the movement of the human figure. The human figure needs to be comfortable in any space and interior design should encourage movement around a space. The recipe book was a basic element for the enslaved which was carrying out instructions to them. Movement is the basic element of interior design as it gives instructions to the user of a space and as to how they should move around the space(Lloyd, 2018).

The repetition of movement in a space helps conduct a person's mind and body (Lloyd, 2018). One would need to reference a recipe book for when they prepare an unfamiliar dish for the first time. 20

References In the abstracted image of Berni Searle’s performance of ‘Snow White’ the human figure is abstracted out of the performance and what is left behind is white flour. The lines explore the different axes that are created by the human figure. There is a radius that the human figure creates for itself. This radius is important as it starts forming boundaries for the human figure and tolerances could be determined from that radius. This is so the body can easily move around a space created by interior design.

Kuppers, P., 2009. Identity Politics of Mobility: Kara Walker and Berni Searle. Performance Paradigm, 5(1), pp.47-65. Baderoon. G 2009. The African Oceans - Tracing the Sea as Memory of Slavery in South African Literature and Culture. Research In African Research, Vol 40, No.4, pp.90-105. The Regents of the University of California, 2003. Berni Searle. Matrix202 A Matter of Time, pp.1-2. Lloyd,M 2018. Choreography and interior design; using performance terminology to describe interior experience. Iowa State University, Chapter 3 ,pp.6-25.

Abstracted Image of Berni Searle’s Performance of Snow White. 21

Task 4- Operationalize Collage

Task 4- Process Storyboard

With this series the images were unclear and they were not able to be read properly.

The images where too literal and there wasnâ&#x20AC;&#x2122;t a clear story and meaning that could be told to help the reader better understand what I meant.

The two images where only showing transitional elements and movement but missed context and users which is the human figures and how they connect to each other.

PROJECT 3 | SEMESTER 2 SMALL ESSAY The Coronavirus is by no doubt a highlight of the year 2020. We had to contain and isolate in our own living spaces to reduce the spread and possibilities of infecting the virus. This essay aims to propose new architectural parameters to be utilised in small living spaces in future pandemics. The use of critical thinking and my own living experiences are explored to draw up the essay. Other architectural precedents and social boundaries around the world are studied to gain inspiration to draw up and explore rational and innovative parameter for small living spaces.

MAPPING PERSONAL SPACE 1831355

This study will be about the spatial standards of a Small Living Space in case of a pandemic like the present one of coronavirus. A Pandemic does not only impacting health-related

SING ING M D MU

ISION EV I N G EL E E P S

CH R S T O MO ET OIL ER CT SI IST

C FOOTS ATS TEP LA RA S C U BIRD IN T H S AMB PLA H IEN

behaviours but the standards of living as well, people are forced to quarantine into small

ENCE L I R S DOGS E T EN GH LDR ER I ND IND W U TS ND N OU S T

S N OR H O I NG

living spaces for the duration of the pandemic. There will be different techniques and parameters highlighted and discussed that can help improve the living standards during the pandemic. Old and new small living spaces will be explored in terms of plans, sections, concepts and philosophies To draft down new living standards. Different design elements will be explored and how they can be used in helping us adapt to the new standards of living during a pandemic. The pandemic influences personal, political, economic and social structures. There have been numerous pandemics in the past that have caused a lot of structures to be reimagined and reinvented. The life before the pandemic is regarded as the ‘friction’ life and during the pandemic, we live a ‘frictionless’ life. Living spaces could become a potential hotspot for the pandemic as people are confined to their homes in numbers and it becomes a dense living environment. This will cause the virus to spread at a rapid rate. Living standards and parameters should be revised to improve the living space of people for them to stay safe and not contract or spread the virus. During the 1800s there was a project that was established to rebuild the city of Paris. It is called the Haussman’s Renovation of Paris. The reason for this renovation was due to the cholera pandemic. “Cholera is an infectious disease caused by a bacterium called Vibrio Cholerae, people contract cholera after drinking liquids or eating foods contaminated with the bacteria.” (History.com, 2020). The renovation was to bring clean sanitation to Paris and

The beginning of a traumatic and life-changing experience. The pandemic is a worldly

to also include functional spaces and programmes that will help the city overcome the

crisis but has forced people to be confined in their homes. For me, this was and still is

pandemic. The Renovation was started by destroying what existed of the city and rebuilt new

a conversation with the interior and exterior of my workspace. I am forced to work in-

structures. It was a complete revamp of the city of Paris that even changed the appearance

doors due to this pandemic. I thought this would be a peaceful environment but I’ve

of the city. What the renovation did not address was the social impact of the city. The

experienced the opposite. The interior (outdoor) space and the exterior (outdoor)

working class were dislocated to the outskirts of the city and the poor were evicted. The

space have become enemies. I am constantly in conversation with the exterior of my

renovation did not compromise its strategies for the citizens of the city (Bawatneh, 2017).

personal space. The interior has become a toxic world of uncomfortable behaviours

The urbanscape of the city is changing due to the pandemic, with people walking around

and activities. There is no such thing as ‘getting used to it’ in this situation.

with masks, parks being empty and walkway paving being empty. People will be spending a long time in their confined spaces (Chayka, 2020).

The exterior has so much f reedom that I always re-imagine myself in its presence. The

With constant changing social and cultural norms, it is important to not neglect these

interior expresses how I don’t belong in this space. It was once my home but has now

structures to ensure equality amongst the citizens. This helps the new standards of living to

turned into just another destination. This made me realise that it is important to have

not appear biased to the citizens. At the end of the day, the citizens are the ones that are

an interior space connecting with the exterior space. A window facing out is just not enough. A window that makes you have an experience might be the perfect solution.

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going to occupy the space and they should be made the priority. The priority being the

During a pandemic, people lose social space privileges, because people don’t get to go out

citizens as the subject experiencing the architecture as an object and way of living.

of their confinements to socialise publicly. Social Space is important as it provides networks

Social Distancing has impacted the building function, occupancy and use. Each person is required to occupy a greater square meter radius, to always maintain the social distancing protocol of 2 meters (Lewis, David, Tsurumaki,2020). In a scenario, before the pandemic, this could be a space that is occupied by 2 individuals. Therefore this shows that the occupancy of a living space is going to decrease. The people occupying the given space should always maintain social distancing to decrease the spread of the virus. Modular structures like tents have been used lately to provide temporary hospitals and testing stations. These structural systems have been successful in helping to manage the growth and the capacity of hospitals for coronavirus patients. The structures are modular, mobile, adaptive and are rapidly constructible. The structures are mainly temporary, which means they can be deconstructed when they are not needed, which is when the pandemic is over. They are easily stored and can easily be used for other functions when needed. The concept of these temporary structures should be noted and used in the architectural practise for spatial planning of small living spaces. Interior walls are often permanent and rigid. In the case of a pandemic, dense living spaces cannot be adjusted for these walls to help divide the spaces into small living spaces for families or individuals.

of movement, communication opportunities and spaces for playing and relaxation (Carr, Francis, Rulin and Stone, 1922). “Public spaces add value and improve the quality of life” (Haughton, 1997). People are used to gathering in spaces like parks, squares, malls and social designated areas to socialise. In the event of a pandemic, this becomes difficult to achieve as it will increase the chances of people spreading the virus and potentially contracting it. Roofscapes have evolved to habitable spaces for people to use as social gathering space. Roofs have shifted from being building covering components to functional spaces. The Unite d’Habitation by Le Corbusier is a great example to explain this function. Le Corbusier came with the idea of letting the inhibitors of the building to have their own private spaces and have a shared public gathering space. The building places the communal gathering space on the roof. The roof has elements like a running track, club, kindergarten, a gym and a pool (Kroll, 2010). These are activities that do not take place publicly during a pandemic but rather in individual living spaces. There are also shops and medical facilities in the interior parts of the building. This spatial planning and programming ensures that the inhibitors do not need to leave the building to get essentials that are needed and enjoy social space privileges. Unutilised building spaces and roofscapes could be beneficial parts of the building

Fusuma walls are Traditional Japanese interior room separators made with a paper or cloth

to change and make them functional social gathering spaces while considering the social

material in a wooden frame (Spacey, 2016). Shoji is another traditional Japanese wall that is

distancing protocols that need to be followed during a pandemic.

usually used for the exterior walls of a space and is made from a thicker paper or cloth material in a wooden lattice frame.

Circulation space around a building is a vital element as people use it to move around a given space. It can be noted that the pandemic has made people afraid to use public

These walls allow for flexibility and mobility. It also allows the bigger space to be subdivided

circulation due to the fear of contracting or spreading the virus. Hospital circulation spaces

into smaller spaces for occupancy and different functions. For this to work, there should not

have been divided into two parts using room separators for people walking in the circulation

be obstructing objects in the space. This is different from the Western Culture because the

space do not get into contact with each other. This technique is successful as it helps the

Western Culture has introduced the use of heavy and rigid furniture that is used in various

individuals to maintain social distancing protocol standards. Individual living units have

homes (Ikoma,2016). This makes the space difficult to adjust and meet the mobility and

circulation embedded in its spatial plan. It can be noted that they are usually used for the

temporary criteria of the walls dividing the space. Therefore interior spaces should

inhabitants to move around the units.

incorporate mobile and temporary furniture to allow for the temporary walls to operate. These temporary walls would be useful in the event of a pandemic to provide a protective barrier and isolation hubs to prevent the spread of the virus. Current living spaces that do not meet the criteria of social distancing and isolation should be revised as to how these could be incorporated into the spatial planning of the interior space.

Circulation space only gets activated when the inhibitors use the space, when they do not the space becomes a hostile environment. In the event of a pandemic, space is an important need for individuals to participate in activities that they used to partake in before the pandemic, for example, exercising, playing and other non-permanent and short-duration activities. It should be highlighted that the activities are of a short duration and nonpermanence because circulation spaces can be used any time of the day and disturbance

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might occur where the user will have to pause the activity to let the inhibitors to move from

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one point to the next point of the unit. For instance, we could look at a person exercising in

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their units or the corridor and while this person is exercising a secondary inhibitor might need should be observed.

  

In conclusion, the study of design elements mentioned above highlights how they could be

  

used to draw up new and effective small living standards during a pandemic. They clearly

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define how old ways of designing can be changed or re-innovated for current and future

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to pass by, therefore the need to pause the activity to let the secondary inhibitor to pass by

pandemics.               

               

  

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     

     

PROJECT 4 | SEMESTER 2 OPEN THE CLOSE(D) The project focuses on the site that was designed by Pancho Guedes at the University of the Witwatersrand, Sutton Close. In memory of Pancho Guedes, this project aims to re-imagine the function of a public space in between private structures. The exploration of the project involves the study of Afro and Modernist spaces and its characteristics. The focus is structured around the font of Pancho Guedes. Using this, a new idea is proposed in utilising the site annually. 28

Font Reseach Admired architects such as Gaudi, Frank Lloyd Wright, Le Corbusier and Louis I. Kahn became important for a different ambition. Pancho admired their revolutionary achievements, he made no attempt to copy them It was the genius of the masters who inspired him to continue his work but adapt it to a very different geographical and cultural environment. He used to make some few pure sketches to off burst his imaginations and transform it into an organic painting and all of that were transcended into a live design concept. That is where the text form(font) came about from his organic shapes. The text blocks formed an image related to the sequence of constructing the house. Furthermore, the decreasing sequence of type sizes evoked another basic experience of perception. The rounded deformation was explored to create a reference to the design process of Pancho Guedes. As a starting point of his projects he used to paint the soul of the house he was working on. Since this fact is not known to the general public, the font is mainly transporting the message in organic forms—bubbling or melting. By deconstructing the letterforms (fonts), a composition is created that denies a clear spatial relationship between the typography and the painting on the image. By deconstructing the letterforms (fonts), a composition is created that denies a clear spatial relationship between the typography and the painting on the image.

Pancho Guedes Architecture experiences new realities, not always following either models ortypes, since it doesn’t avoid exercising new ways of inventing design. The act of conceptualising adesign, while a decisive intellectual act and as a result of being dependant from mental processes connected to the drawing techniques, promotes and reminds a knowledge and experience. If so, knowledge and experience become individual activities, being either of more technical or material nature, and theoretical or dreamlike. The word “individual“induces immediate recognition that the drawing, as a result of its unique condition of coming through the human body, a hand, expresses characteristics of knowledge and personality. In short, it’s an individual work and activity. A drawing conveys a specific image which occurs as a result of other images, whatever its origins.

Proposed Reuse-Rainbow Exhibition

A space thatâ&#x20AC;&#x2122;s created a that allows cultural diversities to be displayed at the disposal of the public. From stalls to food and a night bonfire under the African stars, that allows for storytelling of folk tales across African cultures and the ability to highlight these different cultures individual;y and holistically. 30

SKETCH BOOK| SEMESTER 1

SKETCH BOOK| SEMESTER 2

K A G I S O M O R A K E 18 313 5 5 ARPL3021|Histories And Theories Of Architecture|Por t folio

KEA LEBOHA |THANK YOU