This proposal for GoDown Arts Centre invites you to enjoy an open and transformable architecture in a large shaded oasis. It is dressed in layers of thin curtains of glass, or mixed materials, suspended in wires between the floor slabs. Some spaces are fully visible, others are veiled, or protected behind opaque walls. The building has many different faces speaking freely in its manifestation of Nairobi's cultural diversity. As one enters the building on ground level one can see a pool: its water reflecting the light of the atrium, improving air humidity, or indoor temperature. It can be rainwater collected by the large roof. Moreover, the pool can be deep enough for high-diving from platforms on the first floor. In fact, some sports have more in common with the arts than with other sports, and Nairobi's many cultures, or tribes, share traits, or interests, in spite of borders caused by geography, history, social differences etc.. Curtains of Nairobi is, therefore, a centre for art beyond borders. It provides the current activities with new spaces (approx. 2000 m2), plus adds 3000 m2 of new studios, offices, workshops, a restaurant, a pool, a 900 seat auditorium, and a roof garden. / Detta förslag till GoDown Arts Centre inbjuder dig till en öppen och föränderlig arkitektur i en stor skuggig oas. Byggnaden är klädd i lager av tunna gardiner av glas, eller blandade material, upphängda i vajrar mellan bjälklagen. Vissa rum är fullt synliga, andra är beslöjade, eller skyddade bakom ogenomskinliga väggar. Byggnaden har många olika ansikten som talar fritt och manifesterar Nairobis kulturella mångfald.  När man kommer in i byggnaden på marknivå kan man se en pool: dess vatten reflekterar atriets ljus, förbättrar luftfuktigheten, eller inomhustemperaturen. Det kan vara regnvatten som samlas in av det stora taket. Dessutom kan poolen vara tillräckligt djup för simhopp från första våningen. För vissa sporter har mer gemensamt med konst än med andra sporter, och Nairobis många kulturer, eller folkstammar, delar många drag, eller intressen, trots gränser orsakade av geografi, historia, sociala skillnader etc.. Nairobis Gardiner är en byggnad för konst bortom gränser. Den erbjuder den nuvarande verksamheten nya rum (ca 2000 m2) plus ytterligare 3000 m2 med nya studios, kontor, verkstäder, en restaurang, en pool, ett auditorium med drygt 900 sitplatser, och en takterrass.

This thesis explores the ways in which architecture can be used to enhance and support creativity in music by engaging with the urban environment. The investigation will take the form of designing a community scaled performing-arts incubator in downtown Toronto. The arts incubator program is familiar across North America, but often takes the form of either a pastoral retreat or an urban revitalization tool with a focus on community development. This thesis aims to combine both ideas and create an arts-focused facility within the urban environment. Elements of the creative process of music are translated to program-specific, arts-focused design elements that are then described by their relationship to each other and to the city. This thesis aims to create a series of spaces that will enhance the capability of urban musicians to practice their craft and in turn elevate the cultural identity of the place.

Salvokop, the site chosen for this project, is due for some major changes in the next few years. Current development on Freedom Park, the future Gautrain initiative as well as a new drive by the local municipality to integrate the area into the CBD of Pretoria through a major 'Cultural Spine' throught the city make Salvokop a future destination of major interest. The Centre for the Performing Arts seeks to appeal to all facets of South African culture through a medium of expression that all appreciate: the medium of performance art. Specifically speaking, perfromance art applies to music, dance and drama. It is the ambition of this project to cater for al these forms on a level with which both public and performer may participate. Integration into the urban landscape is key, with this Centre engaging with the intended urban fabric of the area in such a way as to create a ariety of indoor and outdoor recreation and performance spaces. / Dissertation (M Arch (professional))--University of Pretoria, 2005. / Architecture / unrestricted

The Go Down Arts Centre is a proposal for a new building to an existing organisation in Nairobi, Kenya. The proposal relates to the scale of the city by making a statement on a future urban path, and by welcoming the city in to the building. The proposal houses both activities affiliated to Go Down, such as studios and rehersal rooms, as well as opportunities for the visitor to meet and interact with the culture produced at Go Down, both in formal and informal settings. The building is closed to its surroundings, apart from a grand entrance towards the urban path. There, the city passes through the building to an inner courtyard, where the communication to all the rooms and activities takes place. From the exterior courtyard, the buildning acts as an halftone screen towards a darker, more specific and more temperated room, where it meets the outer wall. / The Go Down Arts Centre är ett förslag på en ny byggnad till en existerande verksamhet i Nairobi, Kenya. Förslaget relaterar till stadens skala, genom att utmärka sig på ett framtida urbant stråk och bjuda in staden i byggnaden. I byggnaden finns plats både för verksamheter knutna till Go Down, i form av ateljéer, studios, replokaler, osv. och för besökaren att möta och integrera med kulturen, både i formella och informella sammanhang. Själva byggnaden är sluten utåt, med en stor öppning vid stråket, där staden passerar in i byggnaden till en innergård där kommunikationerna till alla rum och verksamheter återfinns. Från den exteriöra innergården går byggnaden genom ett raster mot ett allt slutnare, mörkare och mer tempererat rum tills den möter den tunga ytterväggen.

This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.

This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.

Magistro studijų baigiamajame darbe projektuojamas scenos menų centras Kaune, senamiesčio prieigose, Neries upės pakrantėje. Darbe surinkta ir išanalizuota medžiaga, susijusi su teatrų, scenos menų centrų ir kompleksų projektavimo ypatumais, jų koncepcijomis ir įgyvendinimo rezultatais. Atlikta vietos sąlygų analizė, sukurti konceptualiai skirtingi eskiziniai projekto variantai, parengtas scenos menų centro projektas. Projektuojamas objektas dominuoja krantinės išklotinėje, tampa akcentu žyminčiu miesto centro pradžią. Pagrindinė pastato scena sudaro branduolį, kuris sujungia įprastinį prabangaus, iškilmingo teatro modelį su eksperimentinio, besikeičiančio teatro tipu, leisdamas kurti ryšius tarp atlikėjų ir žiūrovų visomis kryptimis. Pakrantėje suprojektuota viešoji erdvė - didelė atvira platforma - amfiteatras. Baigiamąjį darbą sudaro: įvadas, analitinė dalis, projektinė dalis, bendrosios išvados. Pateikiami du maketai ir grafinė medžiaga planšetuose. / The final project of master studies is the design of performing arts centre on the bank of river Neris, close to old-town of Kaunas. Specific features and concepts of performing arts centers design and their realization is being analyzed. After site analysis conceptually different variations are created and the final project of performing arts centre is designed. Designed object is a landmark on the bank of the river and marks the entrance to the city centre. The main stage volume works as a core and combines the model of classical exclusive theater with experimental theater allowing to create different connections between audience and performers. A public space - big platform amphitheater is designed on the bank of the river. The final work consists of preface, analytic part, project part, conclusion. Two scaled models of the building and graphic material are also presented.

This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.

This article considers the impact of new technologies on the adolescent experience of live, literary theatre. Drawing together the work of theorists in literacies, new technologies and audience studies, together with brain research, and the results of a focus group of four secondary students who have seen four plays at Canada’s National Arts Centre, it examines the consequences of young people’s immersion in digital culture and the new mindset that often results. The expectation of instant access to data, inter-connectivity, stimulation and control can make it difficult for adolescents to decode the metaphorical aspects of a theatrical performance. The article concludes that language arts and dramatic arts educators have a key role in teaching students how to decode—and therefore enjoy and appreciate— a play.