This work is the result of an exploration into the relationship of form and pattern. Its inspiration began as an experiment where certain two dimensional graphical patterns were interpreted as three dimensional elements in a lattice-like assembly. The resulting compositions are built entirely of MDF, and each piece is made from multiple copies of one or two identically shaped parts that are joined with shallow grooves. Some of the pieces resemble Asian architectural lattices as well as the scientific models of molecules in crystals. Often, the flat components seem to undulate in space or twist into impossible shapes. Although the various compositions appear dissimilar, the differences are a result of only minor changes to the individual parts that comprise them. Therefore, the work is metaphorically analogous to other complex systems made from simple components such as the structure of matter, the organization of cells, or primordial life in general.

The painting Plaza Mayor de Lima de los Reinos de el Peru, año de 1680, which is held in the collection of the Museo de América in Madrid, presents an idealized image of social interaction in the Plaza Mayor with its depiction of people from a variety of social groups. Little is known surrounding the painting’s commission, and recent scholarship focuses primarily on the colonial architecture within the image. This thesis seeks to shift the scholarly dialogue by examining the depictions of the female figures within the painting. As this thesis will argue, both the portrayal of the female figures in different modes of dress and the location of the figures within the painting document the ways in which distinctions in race and economic class were understood in seventeenth-century Lima. By analyzing the dress and the positioning of the figures, the interactions of Europeans, West Africans, indigenous and mixed raced persons are revealed.

In a perfect world, teamwork just exists. People function harmoniously with each other & their environment. Although we do not live in a perfect world, people and environments can always change and adapt to better their relationships. The Pumphouse was abandoned 41 years after the project was completed because it no longer met the needs and performed the functions that it needed to perform. It no longer serves the same purpose that it once did. And while acknowledging its past, it must also address its new functions and become a piece of beautiful, usable architecture once more. This space will encourage visitors to break down the established barriers from their home or workplace environments and experience true, lasting teamwork. Through chance encounters, shared spaces, and large group gathering areas, guests are encouraged to interact with each other in more than the expected ways. In breaking down barriers and formal establishments, guests embark upon a beautiful process intended to change the way they interact with each other. This process of discovery-symbolized by the elements within this space- encourages the visitors to grow, discover and become enchanted- and not disappointed- by what they find.

IT’S ALWAYS SOMEBODY’S PARIS: AN EXAMINATION OF PLACE IN NONFICTION WRITING By Jessica E. Sculthorpe This thesis examines the importance of place in nonfiction writing, using both the author’s personal experience as a student in Paris and the writings of other Americans in Paris, including members of the Lost Generation. The first two chapters examine the author’s experience as a young student in Paris. The third and fourth chapters contain the author’s reflection on the process of writing the thesis and an examination of the ways in which other writers have written about Paris in their own nonfiction writing.

The Pedagogy of Shakespeare & Company examines in several ways the principles and practices of actor training at Shakespeare & Company of Lenox, Massachusetts. Chapter 1 is a narrative of my personal experience at the Month-long Intensive in Lenox, elaborating its multiple components. Chapter 2 recounts the genesis of the company and looks at the influences that shaped its identity. Chapter 3 is a more specific attempt to define the pedagogy developed by Tina Packer, Kristin Linklater and the other founders of Shakespeare & Company and to provide some contextual analysis. The remainder of this document explores my own pedagogical evolution and the opportunities afforded me thus far to apply my learning to my teaching.

This thesis argues that Raphael's portrait, Baldassare Castiglione, is three portraits in one: 1) a "speaking likeness" of the subject, 2) a portrait of the "perfect" courtier, and 3) a "shadow" portrait of the Court of Urbino in the early sixteenth century. The formal analysis of the painting is presented in the context of the paragone of word and image expounded by its subject in his masterpiece, Il Cortegiano. Both author and artist demonstrate the concepts of sprezzatura (an artful artlessness) and grazia (graceful elegance) in the creation of their portraits, as well as avoidance of affetazione (affectation). It is concluded that Raphael's response to the challenge of the text/image paragone in Il Cortegiano determined the formal choices he made as he painted his friend Baldassare Castiglione.

This project started out as program for multi-family housing with a need for natural light, then, it changed. Through countless studies, it became evident that what started as an animal made up of bones and tissues was really just the vessel for the animal's soul. Light is the soul of design. The program represents the tissue and bones of the animal that is design.In this project two paths were taken. The first being pragmatic, the design bound by the program. Where in the second, the concept, light, beats up the program and ultimately makes for an inspiring place to live.

This thesis entails a three-part approach to understanding the iconographic program at Santa Maria Tonantzintla. First, an historical and stylistic background of Santa Maria Tonantzintla will be presented. Included in this section is a description of the church and its many saints. The second part is a description of the various images of the Virgin and associated Marian Emblemata within the church design. The third part focuses on the European- based iconography of the Virgin and the iconography of the pre-Hispanic earth mother Tonantzin. It will illustrate how the image of the Virgin of the Immaculate Conception at Santa Maria is the physical manifestation of a sacred discourse between Catholic and ancient Mexican iconography.

Since the inception of new museum theory, and the emphasis it places on the social purpose of museums within society, museum professionals and museum studies theorists have struggled to define what role museums must take in combating prejudices and fostering better understating of difference. Richard Sandell is one such theorist who writes about the importance of, and need for, greater inclusion of disabled artists and works of art containing themes of disability into exhibitions and display. This thesis examines Sandell’s scholarship, noting its foundation in new museum theory and disability studies, and then, employing a case study of the American Visionary Art Museum, illustrates the issues illuminated in Sandell’s writing. Finally, utilizing the case study, this thesis will offer aims for further research within museum studies not yet considered by Sandell, especially within educational goals and activities of the museum.

Subjugated groups studied by discourses of feminism and postcolonialism are commonly oppressed by white, male, imperial power systems. As different marginalized groups are exploited by the same dominant ideology the disparate discourses should collaborate in an attempt to fight the powers of oppression en masse. This thesis will explore not only how feminism and postcolonialism should collaborate, but that they have already been doing so for hundreds of years. In the seventeenth century the playwright Aphra Behn was already exploring the discourses as inseparable, and three-hundred-years later, playwright Caryl Churchill continues to do the same. By studying conventions of drama throughout various theatre movements, such as Restoration and Epic theatre, I will show how class, gender, and race have always been cultural issues as long as Britain has had imperial status.