Thesis Ph. D.)--University of Wisconsin--Madison, 1971. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Bibliography: leaves 234-241.

Thesis (M.A.)--University of Wisconsin--Madison, 1963. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (Ph. D.)--Columbia University. / Vita. Published also as Studies in history, economics and public law, edited by the Faculty of Political Science at Columbia University, v. 57, no. 2. Includes bibliographical references (p. 343-346).

Thesis (M.M.)--Boston University

American acquaintance with Kabuki began before World War II, although sustained interest did not begin to develop until after the war. In fact, Kabuki became known in the United States largely because a number of influential American authors and theatre people responded enthusiastically to this Japanese theatre form, which they had seen during the Occupation. On returning to America, these people wrote about Kabuki and made efforts to bring a troupe on a visit to New York City and other parts of the country. Subsequently, the Azuma Kabuki Dancers and Musicians came in 1954 and again in 1955-56, and the Grand Kabuki visited in 1960 and 1969. Focusing on New York, the paper outlines the history of Kabuki performances in America and traces the development of interest, mainly by showing how those writing in newspapers and popular magazines responded to Kabuki over the years. Despite problems of diplomacy and the technical difficulties in transporting a" full-sized troupe abroad, a wide base of interest had been established by the time of the last troupe's visit in 1969. / Arts, Faculty of / Theatre and Film, Department of / Graduate

No description available.

How can architecture transcend style in the fashion world? My thesis offers experiences for both the public and private realm of the fashion industry. For the public, the opportunity to see and feel the clothes on the runways. For the private, the designers can work, show and display all in one building. The project divides itself into two worlds, the static vs. the dynamic. Both polarities are evident in the runways and in the gallery space. In a world where fashion is in and out in a matter of a season, can architecture transcend the moment? / Master of Architecture

This study examines the reuse potential of industrial land and infrastructure left abandoned or otherwise underutilized. The goal of this study is to open discussion and dialogue into such cases in North American cities that currently are liabilities and offer guidelines and methods for approaching preservation and reuse of such properties in a manner that contributes to community health, safety and welfare while maintaining historical character and significance.Abandoned or underutilized industrial land and infrastructure often pose significant environmental, safety, and land-use liability issues for municipalities. The application of creative reuse ideas centered on the notion of preserving industrial character, while creating new housing and recreation options for citizens is a major opportunity for communities struggling to cope with the negative aspects of these properties.The design project portion of this study was performed as part of an `ideas competition' conducted in 2003 by the `Friends of The High Line,' a not-for-profit organization dedicated to preserving a 1.5 mile stretch of abandoned, elevated rail bed in the Chelsea neighborhood of Manhattan Borough, New York City. / Department of Architecture

Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Architecture, 1988. / Includes bibliographical references. / The "skyscraper problem" challenged the thought and practice of civic designers and architects prior to World War I. It referred to the incompatibility of City Beautiful principles with economically propelled land development, and to the contradiction between the notion of architecture as an art and the skyscraper's programmatic and technical requirements. Civic designers in New York had difficulty accommodating the skyscraper in their large-scale plans. They also found that it intruded on their vision for the business street, hindered their attempts to plan City Hall Park as New York's civic center, and created a chaotic skyline. Bruce Price, Louis Sullivan, Thomas Hastings, Cyrus L.W. Eidlitz, and other architects suggested alternative proposals for subjecting the skyscraper to the constraints of design . Prior to the design of the Woolworth Building, however, architectural critics did not unanimously endorse any single approach. Frank Woolworth chose a site for his proposed headquarters at the intersection of City Hall Park, New York's civic center, with lower Broadway, the spine of its business district . Woolworth commissioned Cass Gilbert to design the Woolworth Building in 1910. Gilbert shared the City Beautiful vision of McKim, Mead & White and Daniel Burnham. He also accepted the skyscraper's pragmatic requirements. Woolworth intended his headquarters to function as a speculative office building, but also to look like a civic institution. The imagery of a civic institution would represent the capitol of his commercial "empire" as well as display his civic-mindedness, wealth, and cosmopolitanism. The Woolworth Building's siting at New York's civic center, its composition, its arcade, and its sculptural and mural decoration identified it with the prevailing concept of the civic building. The soaring vertical piers of its exterior recalled Gilbert's earlier design for the West Street Building, which was influenced by the functionalist ideas of Louis Sullivan. The Woolworth Building convinced critics that a suitable architectural expression could be found for the skyscraper. Zoning reformers regarded it as a benign skyscraper. Contemporary observers attuned to City Beautiful aesthetic principles thought that the Woolworth Building strengthened the order and image of New York's civic center and enhanced the view of the city from afar. / by Gail Fenske. / Ph.D.

Thesis. 1978. M.Arch.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 34-35. / by Leah Greenwald. / M.Arch.