The project is found on the north eastern corner of the Nelson Mandela Boulevard and Church Street crossing adjacent to the Apies River, one of the most important crossings in Pretoria. The goal of the project is to establish an Exhibition and Conference Centre on the eastern gateway of the city, reviving the historic area of repose between Lady Ngoya Square (Strijdom Square) and the Union Building gardens. / Dissertation (MArch(Prof))--University of Pretoria, 2012. / Architecture / unrestricted

Le 4 mai 1913, s’ouvre dans les locaux de la Chambre de Commerce de Nancy, la première exposition d’urbanisme jamais organisée en France, l’Exposition de la Cité Moderne, avec pour point d’orgue un avant-projet de plan d’extension de la capitale lorraine. Caractérisé par un Grand boulevard de circonvallation qui redessine les limites d’une ville en plein développement, ce plan incarne les ambitions urbaines d’un nouvel âge d’or régional né de la proximité de la frontière avec l’Allemagne depuis 1871 et du formidable essor du bassin minier de Briey depuis les années 1900. Cependant, l’exposition n’est pas le fait des édiles nancéiens, mais des maîtres de forges de la Société industrielle de l’Est, et le plan n’est pas du à l’initiative des organisateurs, mais d’un collectif d’architectes locaux plus connus pour leur participation à l’École de Nancy. Au moment même où la place Stanislas s’impose comme une référence incontournable, la qualité de l’enquête documentaire internationale menée au préalable, et la participation du Musée social, mais aussi la publication du projet dans les colonnes de L’Architecture, et son exposition à Gand, Lyon et Paris, achèvent de faire de ce plan d’extension un témoin singulier des premiers temps de l’urbanisme. Au-delà des conditions lorraines et nancéiennes de son émergence, le propos ambitionne de resituer sa genèse par rapport aux grandes questions morphologiques soulevées par le débat international qui s’organise autour des manifestations de Berlin et de Londres, et plus particulièrement, de la question du traitement des limites de la Grande ville, entre boulevard de ceinture et cité-jardin, entre système de parcs et ceinture verte. / May 4, 1913, opens in the premises of the Chambre de Commerce de Nancy, the first exhibition of urban planning ever organized in France, the Exposition de la Cité Moderne, culminating in a preliminary draft of a plan d’extension of the Lorraine capital. Characterized by a Grand Boulevard de Circonvallation that redraws the limits of a city in full development, this plan embodies the urban ambitions of a new regional golden age born from the proximity of the border with Germany since 1871, and formidable boom of the mining basin of Briey since the 1900’s. However, the exhibition is not the fact of the city councilors of Nancy, but of the ironmasters of the Société Industrielle de l'Est, and the plan is not due to initiative of the organizers, but a group of local architects better known for their participation in the École de Nancy. At the very moment when Place Stanislas stands out as an essential reference, the quality of the international documentary survey conducted in advance, and the participation of the Musée Social, but also the publication of the project in the columns of L'Architecture, and its exhibition in Ghent, Lyon and Paris, complete this expansion plan as a singular witness of the early days of urban planning. Beyond the Lorraine and Nancy conditions of its emergence, the intention is to resituate its genesis in relation to the big morphological questions raised by the international debate which is organized around the Berlin and London demonstrations, and more particularly, the question the treatment of the limits of the Big City, between belt-boulevard and garden-city, between park system and green belt.

published_or_final_version / Architecture / Master / Master of Architecture

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Melanie F. Klein / Cities and nature are often popularly viewed as polar opposites. Many American cities are seen as “destructive of nature, gray and natureless, distinct and separate from natural systems” (Beatley 2008, 189). Cities lacking in ecological functions can benefit from the application of Green Urbanism theory. Green Urbanism incorporates ecological features as central design elements, cities, and to restore, nurture, and celebrate urban ecology. Unique ecological features can affect a place in positive ways while adding and establishing an identity for the city. One city that has been stuck in a gray and natureless state is St. Louis, Missouri, in particular, the Central business district. In order to transform St. Louis into a more ecologically rich city, an eco-boulevard will be implemented. An eco-boulevard is a green ribbon that collects stormwater runoff and connects people to surrounding local amenities. In addition to stormwater benefits, the eco-boulevard will serve as a visual and physical connector for pedestrians to public destinations, and connect pedestrians with other pedestrians by serving as its own destination. The eco-boulevard can also provide multiple ecological and social benefits to promote healthy places with a high quality of life. In order to achieve the implementation of an eco-boulevard, a thorough analysis of watersheds, key low points, transportation hubs, public destinations, and established pedestrian traffic routes were considered. The design of the eco-boulevard is concentrated in areas where low points in elevation, transportation hubs, public destinations, and highly traveled pedestrian traffic routes converge. At the intersection of these elements, unique features capture and store stormwater runoff. As a whole, the entire eco-boulevard improves urban ecology through the use of vegetation, street trees, and the recycling of water.

Simultaneity and conflict are incessant qualities one is confronted with when looking at things. Shifting from familiar to foreign, from present to implied. There seems to be a tendency, if not necessity to embrace this multiplicity. Using the film theory construct of extra-diegetic and relative qualifier 'sort of' to investigate Pulp Fiction, Bose Wave CD player, Sunset Boulevard, American Apparel, and The Uncanny.

Les années 1760 voient l’apparition de petits établissements théâtraux à Paris, boulevard du Temple, en concurrence avec les trois théâtres officiels de la Capitale : l’Opéra, la Comédie-Française et la Comédie-Italienne. Leur institutionnalisation sous la Révolution entraîne leur prolifération mais implique aussi une nouvelle conception du théâtre qui n’est plus un art subventionné au service du Roi, mais qui fonctionne comme une véritable entreprise dont l’objectif est de réaliser des bénéfices nécessaires à sa survie en attirant un public de plus en plus nombreux. Cette thèse s’intéresse en premier lieu aux représentations théâtrales dans leur totalité afin de comprendre comment naissaient des succès de scène ou des acteurs-« vedettes » incarnant de nouveaux types théâtraux. Elle cherche à analyser le théâtre de cette période comme un phénomène de société induisant de nouveaux modes de création centrés sur la réception d’un public à conquérir. Cette étude privilégie l’angle du rire, effet supposé du comique théâtral, mais aussi manifestation effective des spectateurs au cours des représentations, comme un marqueur important du succès des pièces jouées dans ces théâtres, et comme un révélateur essentiel, dans ses diverses significations et dans son évolution, du rapport tendu entre les théâtres, l’élite intellectuelle, les instances morales et politiques, au cours d’une période de bouleversement historique intense. Au-delà, il s’agit de revaloriser tout un pan du patrimoine théâtral comique de la fin du XVIIIe siècle, patrimoine délaissé et pourtant dominé par des œuvres, auteurs et acteurs d’importance. / During the 1760’s years, new small theatres are setting up on the “boulevard du Temple” in Paris, in competition with the three official theatres of the Capital: the Opéra, the Comédie-Française and the Comédie-Italienne. Their institutionalization during the Revolution brings about their proliferation but also implies a new conception of the theatre, which is not anymore a subsidized art in the service of the King, but a real company which intend to survive by making profits, trying to attract more and more audience. This thesis first intends to analyse the performances in their totality and to understand how were created success plays or star actors embodying theatrical characters. It tries to understand the theatre of this period as a society phenomenon inferring new modes of creation focused on the audience’s reception. This study is centred on laughter, as a supposed effect of the theatrical comic but also as an effective audience’s demonstration during performances, attesting the success of dramas performed in these theatres and revealing, by its diverse meanings and its evolution, tense relations between theatres, intellectual elite, moral and political authorities, during a period of major historic upheaval. Beyond, this work aims at revalue a whole piece of a neglected funny theatrical heritage at the end of the eighteenth century, that nonetheless could boast important comedy writers, plays and actors.

No description available.

This project is a video installation that includes filming the worship services of three small African American churches that exist within an area of rapid gentrification. Perhaps because of their tiny congregations, or racial makeup, these particular little churches seem hidden by a cloak of invisibility.

In the beginning of 1990, there is a trend of thought, ¡§public-private partnership¡¨. Public departments hope to cooperate with private departments with a view to establishing another partnership. There is an internationally-distinguished public art, Dome of Light, at the intersection, MRT Formosa Boulevard Station, of two lines. The MRT Formosa Boulevard Station created a new space and a new landmark in Kaohsiung. The cooperative system of universities and industries collaboratively constructed a learning-typed space, the Corridor of MRT Formosa Boulevard Station. With the horizontally two-way communication participation forming a consensus, the cooperative system of universities and industries is mutually in charge of responsibilities and shares in advantages so as to create values of sustainability for the society. Providing artistic performances, the Corridor of MRT Formosa Boulevard Station has altered the public¡¦s impressions on making use of the space of MRT Formosa Boulevard Station. The research explores the public¡¦s attitude about learning space and was done by attitudinal theory made by Sears, Peplan and Taylor(1991). The statistic analysis of the research is done by descriptive statistics, one-way ANOVA and the related materials. There are four purposes of the research. The first purpose is to know if the public knows the implementation of the construction of the learning-typed space collaboratively created by the partnership of public and private departments. The second is to know the public¡¦s impressions on making use of the learning space, including the relevant curricula, symposia, activities and showcase artistic works. Furthermore, the purpose three is to know the public¡¦s contentment after the participation. Finally, the fourth explores obvious relation between interviewee¡¦s knowing and background information. After the self-made questionnaires were revised by the professionals and analyzed by efficiency and credibility, they became formal. There are 296 effective questionnaires, and the questionnaire retrieval is at 98.66%. The research includes two assumptions: (1)Assuming that the interviewee¡¦s knowing of the Corridor of MRT Formosa Boulevard has obvious differences between behavioral intentions. (2)Assuming that the interviewee¡¦s impressions on the Corridor of MRT Formosa Boulevard have obvious differences between behavioral intentions. The research has discovered that it effectively changed the impressions on the use of the MRT space by the continuing education of Open University of Kaohsiung and the activities of public departments. In the aspects of conclusions and suggestions, I hope KRTC to open a channel of communication for cooperatives in order that the both can advantage by horizontally and friendly two-way interaction. I suggest that the Corridor of KMRT Formosa Boulevard center on the industry of health service, the information of relaxing tours combining art, and the curricula of spiritual development. Let people in the fast-paced city have a secret base to relax. Let busy people set out on a journey! Re-depart¡K!

This particular study is about the main boulevard of the city center of Tirana that is the capital of Albania since 1920. The main boulevard, which has a function of a &quot / spine&quot / of the central business district, was designed as an idea by the Italian architects in 1925. The new government needed immediately governmental buildings like minstries, a palace and a strong form that connects all of these facilities together in a monumental way. This &quot / spinal&quot / circulation system was inspired from the urban movements of that time like near city and city beautiful movement. Tirana is studied as the case by the light of historical developments of other cities. The power of the spine and its effect to the macro form of the whole city is analyzed and determined.