The project oh high school, located on the outskirts of Barcelona on site, where plain seashore turns into upland. The project encourages the potencial of its location. New building structures form the public space, which becomes the centre of the distrikt.

Object of the thermes is located in a compact cube surrounded by water, which is located in the park. Baths are divided vertically into five levels according to function. Public baths, wellness, rehabilitation, physiotherapy.

Alchemical imagery and ideology is present in many Romantic works of literature, but it has largely been overlooked by literary historians in their contextualization of the time period. The same can be said for mysticism in general, of which alchemy is a subset. This project accounts for alchemy in the works of transcendental philosophers and writers as it contributes to some of the most important conversations of the Romantic time period, particularly the reaction against empirical philosophy and the articulation of creative processes. The transcendental conversation is a transnational one, encompassing Germany, Britain, and America, with its use of alchemy also following this transnational progression. The German idealists developed an epistemology that took from alchemical precepts that in turn informed their spiritual models of genius and the creative process. German idealism largely influenced Romantic conceptions of art and creativity, which then contributed to the Romantic ideal of a poet-prophet. Samuel Taylor Coleridge and Nathaniel Hawthorne further developed their own models of the creative process by incorporating alchemy as an image of the transformation from vision into art. I examine Coleridge's "Kubla Khan" and Hawthorne's "The Artist of the Beautiful" for their alchemical imagery that articulates such a genius ideal. I also found, however, that these two Romantic works express an awareness of artistic limitations and frustration in the face of this ideal, which illustrates the ambiguity these two writers are known for. But alchemy, as a discourse of contradictions and their negotiation, is a site that accommodates the tension between a posited ideal and the reality of actual experience. As such, alchemy, as an underlying ideology to the poet-prophet, allows for flexibility in an artist's identity. Furthermore, as a deeply personal philosophy of transformation, alchemy's image as a work of art suggests the artist's personal investment in the creative process, which is necessary to art's viability in an increasingly materialistic world.

Historically vilified, the vocalizing woman developed a stereotyped image with the emergence of the prima donna in eighteenth-century opera. By the nineteenth century, the prima donna became the focal point for socio-cultural polemics: women sought financial and social independence through a career on the operatic stage while society attempted to maintain through various means the socio-cultural stability now threatened by women's mobility. The prima donna represented both a positive ideal for women as well as a great threat to western patriarchy. A discourse emerged in which the symbol of female independence and success ”the prima donna" became the site of tactical control and containment. The prima donna stereotype, opera plot and music, and literature all presented the vilified image as a warning of the disaster awaiting women who overstepped the social boundaries established in the patriarchal image of ideal womanhood. Pauline Viardot confronted this attempt at containment by fulfilling society's expectations of her as a woman and simultaneously confounding its presentation of women opera stars. Viardot performed the role of social woman: she married young, she raised a family, she held a salon, and she engaged in other approved social activities. Madame Viardot's acceptance and fulfillment of the roles established for her by her contemporary society provided her a unique freedom within society in which she could maintain a career on the operatic stage without succumbing to the traditional detritus of the popular press, literature or social ostracizing. She crafted her own image rather than allow society to stigmatize or vilify her. Her success was chronicled in contemporary literature written by women who viewed prima donnas as spokespersons for the female plight. Much of this literature explores women's hopelessness and despair in the face of highly restrictive social codes. Prima donnas engaged in a very public career through which they established financial independence, professional success, and an identity literally shaped by their own voices. George Sand briefly explored the artist-woman's search for freedom and independence in her 1833 Lélia, but it was not until Sand met Pauline Viardot that she was able to create a heroine who could gain a respected position in society, enjoy lasting personal happiness, maintain social and financial independence, and who lived to enjoy the fruits of her labor. Consuelo stands as a permanent record of Viardot's impact on her contemporary society. Pauline Viardot successfully revised the image of the prima donna and that of women in the process. Viardot navigated the centuries-old tradition which demonized publicly vocalizing women and created a new image of the woman-artist. An accomplished actress among other things, Viardot successfully performed the roles of social woman, inspiration of a literary heroine, and prima donna. It is her successful negotiation of these roles which allowed her to carve out a unique position in her contemporary society, a position that allowed her to teach at the Paris Conservatory, support the careers of budding male musicians, garner the respect of royalty, publish and perform her own musical compositions, and live a long, fulfilling life. Letters addressed to Viardot, contemporary accounts by male musicians, and her immortalization in Sand's Consuelo all record the new image Viardot created: that of a respected member of society and operatic performer of great artistic and musical genius.

In Science, Technology, Engineering, and Mathematics (STEM) fields, identity and belonging are affected by how students view themselves as belonging in STEM or not. The movement to help students understand that anyone can be successful in STEM is an incredibly important one. However, how students construct their identities within STEM is important for maintaining their engagement within STEM fields over time. If we condition students to expect positive feedback for having an aptitude in a STEM field early-on, what I deem genius culture, we risk helping these students develop resilience when faced with challenges. Although, if we tell students that everyone can succeed in STEM, we risk deflating students who are gifted or talented in STEM and equating growth/improvement as mastery, thereby discouraging inquiry. Moreover, as instructors, our own sense of STEM-self affects how we teach and reward our students for their successes. A more sustainable goal is to make students aware of their STEM-self and help students bolster their sense of belonging in STEM rather than acknowledging only their perceived successes or failures.

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Cette thèse montre comment s’est constituée la figure du génie en France au cours des XVIe, XVIIe et XVIIIe siècles, en mettant en évidence les paradoxes qui lui ont permis de devenir l’une des notions fondamentales de la modernité. Cette analyse s’articule autour de trois axes principaux. D’abord, il s’agit d’interroger les circonstances de l’invention du terme « génie » dans la langue française, en insistant sur son bagage culturel gréco-latin. La notion de génie apparaît alors comme intimement liée au génie de la langue française et à son histoire. Ensuite, l’analyse s’intéresse au rôle que la notion de génie joue dans le cadre régulateur de la théorie poétique à la fin du XVIIe siècle. Le génie, qui se définit alors comme une aptitude naturelle à l’exercice d’une régularité normée du faire, n’a cependant de valeur que si cette régularité est transgressée, dépassée. Cette relation fait apparaître le paradoxe social que représente le génie, considéré à la fois comme exceptionnel et exemplaire. Ce paradoxe du génie est ensuite analysé dans le cadre du développement des théories esthétiques au XVIIIe siècle, fondées sur une expérience communautarisante du beau. Cette problématique est étudiée au regard de l’intérêt des philosophes sensualistes pour le problème que constitue le génie, en particulier quant aux mécanismes de l’invention et de la découverte. À l’issue de ce parcours, il apparaît que le génie est à la fois problématique pour les théories qui tentent de le circonscrire et unificateur pour la communauté qu’il permet d’illustrer. / This dissertation shows how the figure of the génie was constituted in France over the course of the 16th, 17th and 18th centuries, by highlighting the paradoxes which allowed such a figure to become the fundamental notion of modernity. The analysis revolves around three main lines. First, the circumstances for the invention of the very term génie in the French language are examined by focusing on the Greco-Latin cultural background it carried along. As a result, the notion appears as intimately connected to the genius of the French language and its history. Secondly, the analysis focuses on the role this notion played within the normative framework of poetic production at the end of the 17th century. Paradoxically, the value of the génie, which was then defined as the natural ability for the exercising of a regulated technique of poesis, was inconceivable without the transgression of such a normative framework. This social paradox underscores the fact that a génie was, at once, considered both as exceptional and exemplary. Finally, this very paradox his analyzed further within the trajectory of the development of aesthetic theories, during the 18th century, which were founded on a community-defining experience of beauty. This specific issue his examined with reference to the interest sensualist philosophers displayed, in particular, for the mechanisms of invention and discovery. The investigation comes to the following essential conclusion: the génie was, at the same time, problematic for the theories that attempted to circumscribe it and unifying for the communities which were illustrated through it.

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This thesis is written as an essay, which considers sculpture outside of its definition as art object. Having as its goal finding an intrinsic definition of sculpture, the essay sets on a short journey meandering between ideas, historic precedents, and anecdotes. Among some of the discussed thing are: necessity, labor, leisure, Olduvai chopping stone tool, making, human hand, brain, body, pineal gland, third eye, speculation, materiality, Dixie cup, objecthood, sign, imagination, ENIAC, immateriality, myth, labor, leisure, storytelling, alien, alienation, destruction, creativity, genius, death, weed. The essay concludes that sculpture does not need a definition.