Public space is a fundamental component of the urban condition. Throughout the history of settlement planning, its inclusion has represented the role and identity of the citizen in society. By definition, it encapsulates concepts of freedom, justice and social inclusion. The apartheid spatial experience however, has woven persistent spatial distortions into the urban landscape. Public space was imbued with apartheid ideology, promoting sinister nationalist agendas whilst defining spatial experience by race. It is the premise of this paper that South African public space must be re‐conceptualized in order to embody the aspirations of a new democracy and to maintain its relevance in a post‐apartheid landscape. The Durban City Hall Precinct should represent the symbolic heart of the city. The City Hall and its primary public square, Francis Farewell Square, should capture both the city’s history and the direction of its developmental potential. As the most central and prominent public space, its re‐conceptualisation has the capacity to re‐inspire civic identity and turn the tide of a thirty year decline of the inner city. The process used to achieve such aspirations requires an approach broader than a single built environment discipline. Contemporary approaches to complex urban challenges call for greater integration between disciplines, in particular, the fields of town planning, urban design and architecture. The modernist paradigm has seen the divergence of interests and agendas between built environment disciplines at the ultimate expense of place making and identity. As cities grow, we are faced with the expanding monotony of an urban landscape which surrenders the upliftment of the human spirit for infrastructural demand. This study serves to highlight the potential of the City Hall Precinct and the process and depth of approach required to inform relevant public space. The study explores integrative approaches to planning challenges and the role of design in the redevelopment of public space in city centres. Using the City Hall precinct as a case study, the study pursues this holistic approach as a replicable methodology which should underpin the development of all public space initiatives. / Thesis (M.T.R.P.)-University of KwaZulu-Natal, Durban, 2011.

Using the theory on Representative Bureaucracy, this study considers the minority representative role, which suggests that administrators who are minorities are more inclined to represent minority interests. This study examined whether officers perceive themselves as advocates based on shared demographics and whether they develop attitudes toward reducing youth violence. Considerably more researchers conduct studies in adult prisons than juvenile correctional facilities, which focus on rehabilitation for youth. Therefore, this study further examines youth correctional staff attitudes toward inmates. The way correctional officers' treat minors may impact the amount of violence in juvenile detention facilities. The purposes of the study are to determine whether bureaucratic representation can have an impact on preventing violence, and to understand what factors lead officers in perceiving they have different roles. The two types of bureaucratic representation are passive and active. Passive representation, such as race, ethnicity, and gender, may shape role perceptions because attitudes are constructed by demographic characteristics. Active representation consists of decision-making behavior reflected in measurable policy outputs that are responsive to minority interests. This dissertation seeks to determine whether minority officers perceive themselves in passive or active terms, and how that representation relates to their particular strategies for dealing with youth violence. To determine how officers perceive themselves, this study incorporated mixed methods of both qualitative and quantitative research to examine how officers implement decisions in their positions. This study uses survey research from the Performance Based Standards from the U.S. Department of Justice and interviews with individuals who worked with inmates in California juvenile detention facilities to determine the relationship between minority officers and attitudes toward youth violence. Regression models, including year, were conducted for each hypothesis as a predictor in the model. Multiple regression analysis was used to demonstrate the relationship between independent variables and a single dependent variable. The data have information on facilities as well as staff and inmates within those facilities. Due to the nested nature of the data, multilevel regression models were also conducted when examining outcomes measured at the staff and inmate level.

Based on the author's Thesis (M. Phil.)--University of the West Indies, Mona, Jamaica, 2001. / Includes bibliographical references, discography, videography (p. 146-159) and index.

Based on the author's Thesis (M. Phil.)--University of the West Indies, Mona, Jamaica, 2001. / Includes bibliographical references, discography, videography (p. 146-159) and index.

No description available.

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Há algumas décadas se produz obras de arte na Bahia com o uso recorrente da fotografia como matéria de trabalho, contudo, talvez ainda não se tivesse a idéia nítida de como ela está enraizada na produção regional, nem se conhecesse o seu percurso histórico.Neste contexto, este estudo teve como objetivo investigar a introdução da fotografia nos salões de arte da Bahia e o espaço dado nestes eventos aos artistas residentes no estado. Como também, examinar historicamente os primórdios da fotografia na cidade do Salvador e sua vinculação com as artes; compreender as relações entre a fotografia e a arte na contemporaneidade e verificar o espaço que a Bienal do Recôncavo e o Salão da Bahia do Museu de Arte Moderna da Bahia concederam para a produção fotográfica baiana, no período de 1991 a 2006. Para atender aos aspectos considerados relevantes neste estudo e atingir os objetivos propostos, foram adotados os métodos histórico, comparativo e dedutivo de abordagem. O primeiro serviu para entender ao estágio atual de desenvolvimento do tema através dos experimentos e descobertas feitas no passado; o segundo foi um recurso utilizado para comparação entre as semelhanças em diferentes épocas e técnicas; e o último ofereceu uma análise lógica organizando e especificando o conhecimento. A metodologia abrange,ainda, a valorização da história oral com depoimentos dos envolvidos na organização dos Salões e alguns artistas premiados. Os resultados do estudo apontam que Salvador acompanhou rapidamente o desenvolvimento dos processos técnicos da fotografia; os primeiros daguerreotipistas que chegaram à capital eram itinerantes e se apresentavam como artistas. Um dos primeiros fotógrafos baianos foi José Antonio da Cunha Couto, que possuía uma Galeria de Pintura e Fotografia, em 1873. O estúdio “Photographia Artística”, no início do século XX, pertenceu aos professores do Liceu de Artes e Ofício e da Escola de Belas Artes: Francisco Terêncio Vieira de Campos, Antonio Olavo Baptista e Oséas Santos. Eles utilizaram a fotografia como ferramenta de auxílio na realização de suas encomendas.Destaque para a entrada da fotografia no museu através do fotoclubismo na Bahia, onde suas ações possibilitaram a organização dos primeiros salões de arte fotográfica no estado; como também, a Segunda Bienal de Artes da Bahia. Os Salões Nacionais de Arte Fotográfica realizados na Escola de Belas Artes, na década de 1990, foram de fundamental importância,no sentido de trazer para o estado o intercâmbio da produção fotográfica nacional. Assim como as Mostras de Fotografia Contemporânea da Bahia promoveram a fotografia local. A pesquisa revela que, durante 1991 a 2006, a Bienal do Recôncavo apresentou em relação ao Salão da Bahia um maior panorama acerca das tendências da produção artística na fotografia baiana. / Salvador

Made available in DSpace on 2014-06-11T19:32:24Z (GMT). No. of bitstreams: 0 Previous issue date: 2011-05-26Bitstream added on 2014-06-13T20:23:41Z : No. of bitstreams: 1 silva_km_dr_assis.pdf: 465399 bytes, checksum: 3ac082992ab7afe4f58c23683eb0baee (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Com o objetivo de contribuir para a reconstituição da história do Brasil do período colonial, o presente trabalho discute o papel desempenhado pelas Câmaras Municipais entre as duas últimas décadas do século XVIII e as duas primeiras do XIX, e redimensiona sua participação na disseminação do pensamento e das práticas mercantilistas na América portuguesa. As principais fontes utilizadas são as Atas da Câmara Municipal de São Paulo e o Registro Geral da Câmara Municipal de São Paulo, referentes ao período compreendido entre 1780 e 1822. Essa documentação demonstra que eram as câmaras, e não as instâncias administrativas metropolitanas, que imprimiam a dinâmica do universo colonial, e que eram elas que organizavam, dirigiam e arbitravam as atividades ligadas à produção e ao comércio local. Partindo do princípio de que ao Estado cabia orientar e conduzir a sociedade, os oficiais camarários entendiam a intervenção não como um direito, mas como um dever da administração pública, encarregada de zelar pelo bem estar coletivo. Mais que isso, a documentação camarária revela um outro lado do intervencionismo estatal no império luso-brasileiro: as dificuldades e restrições causadas aos colonos pelas práticas mercantilistas não estariam relacionadas apenas ao comércio transatlântico, mas também aos entraves gerados pelo sistema mercantilista da própria colônia e pelos próprios colonos. Assim, entende-se que o mercantilismo não era uma exclusividade dos agentes históricos metropolitanos, mas uma concepção que também estava presente aqui, enraizada nas instituições administrativas locais – cujos cargos eram ocupados por colonos - que as assumiram e as disseminaram por toda sociedade colonial, perpetuando uma tradição intervencionista e tutelar. Isso fica ainda mais evidente ao se analisar a política econômica adotada por Portugal nesse período... / Aiming to contribute to the reconstruction of Brazil’s colonial history, this paper discusses the role played by Municipal Chambers between the two last decades of the eighteenth century and the first two of the nineteenth century, and also resizes its participation in the dissemination of mercantilist practices and thoughts in Portuguese America. The main sources used are the Minutes of the Municipal Chamber of São Paulo and the General Registry of Municipal Chamber of São Paulo, corresponding of the period between 1780 and 1822. This documentation shows that it the was the Chambers and not the administrative metropolitan instances who dictated the dynamics of the colonial universe, and that they were who organized, directed and arbitrated the activities related to production and local trade. Assuming that the State had the duty to guide and lead the society, the city council had the intervention not as a right, but as an obligation of the public administration, in charge of taking good care of the collective well being. More than that, the city council’s documentation reveals another aspect of the state interventionism in the luso brazilian empire: the difficulties and restrictions caused to the colonists by the mercantilist practices would not be related only to the transatlantic market, but also to the barriers generated by the mercantilist system in its own colony and by the settlers themselves. Therefore, it is clear that the mercantilism was not an exclusivity of the historical metropolitan agents, but a conception that was also present here, deep-rooted in the local administrative institutions – whose positions were occupied by the settlers – which they took control and spread for all colonial society, perpetuating the interventionist and tutoring tradition. It is even more evident when analyzing the economical policy used by Portugal in this period, which tended... (Complete abstract click electronic access below)

O presente trabalho propõe uma investigação acerca dos espaços de apresentação musical e sua relação com a música apresentada nestes, com especial enfoque na música erudita contemporânea. Tal proposta justifica-se a partir da verificação de uma dicotomia entre a concepção arquitetônica destes espaços, e a música que neles se apresenta, em sua maioria de um repertório consolidado no final do século XIX. Tal dissociação é particularmente interessante tendo em vista que, até o advento das vanguardas modernas do início do século XX, a música e os espaços de apresentação formavam um conjunto em consonância com o seu tempo. A partir desta verificação, alguns exemplos de espaços voltados para a música contemporânea e as suas características únicas foram analisados, e elucubrações acerca do estado atual destes, traçadas. A abordagem escolhida, entretanto, não foi a da descrição e análise do ponto de vista arquitetônico, técnico ou ainda, social; optou-se por uma investigação que relacionasse o desenvolvimento próprio da música e a sua relação com o espaço onde esta é apresentada, como forma de reforçar esta ligação e identificar os pontos de intersecção entre as duas disciplinas. Para tanto, iniciou-se o trabalho com alguns exemplos de salas de concerto recentemente construídas no contexto brasileiro: A Sala São Paulo (1999) e o Auditório Ibirapuera (2005), seguindo-se com uma verificação da música comumente apresentada nestes. A partir da verificação desta música, buscou-se o momento de caracterização do tipo arquitetônico do auditório, no tocante à organização espacial e colocação social destes. Dois espaços foram tomados como exemplo: o Palais Garnier (1875) em Paris e o Festspielhaus (1876) em Bayreuth, por representarem, cada um a seu modo, uma faceta deste tipo. Por fim realizou-se uma comparação entre a música apresentada nestes espaços e a música contemporânea, reforçando a dicotomia observada, e identificando preliminarmente o início do século XX como o momento de ruptura da relação direta entre arquitetura e música. Para comprovação desta afirmação, foi realizado uma restrospectiva dos locais onde a música possuía importância proeminente, e em paralelo, procurou-se abordar conceitos próprios da musica e da arquitetura, buscando criar subsídios para a compreensão do trabalho por músicos e arquitetos. Estes conceitos são essenciais para compreensão não só destes espaços, mas também das relações gerais entre os diferentes aspectos da vida social de sua época, de crucial importância para compreensão da dimensão da ruptura relatada. A partir desta revisão, algo descritiva e linear, partiu-se para reflexões dos motivos da mudança da relação entre arquitetura e música no Modernismo, e as consequências deste fato para ambas as disciplinas. Também foram abordados aspectos contemporâneos da música e da arquitetura, em espaços onde ainda buscou-se esta integração característica de outrora. Por fim, as conclusões buscam refletir sobre o futuro desta relação e do papel do arquiteto na produção de espaços para a música contemporânea, a partir de entrevistas com profissionais da área e da bibliografia especializada de ambas as disciplinas. É digno de nota que a bibliografia que aborda sobre este enfoque esta relação é extremamente escassa; este trabalho, portanto, adotou um perfil mais generalista e de amplo espectro, em detrimento de uma especificidade sobre um ponto específico desta relação, como o início de uma tentativa de suprir este vazio bibliográfico. / This paper proposes an investigation into the spaces of musical performance and its relationship with the music presented on these, with special focus on contemporary classical music. This proposal is justified from the verification of a dichotomy between the architectural design of these spaces, and the music that presented on them in a repertoire of mostly consolidated in the late nineteenth century. This dissociation is particularly interesting given that, until the advent of modern vanguards of the beginning of the twentieth century, music and performance spaces formed a group in line with your time. From this investigation, some examples of spaces facing the contemporary music and its unique characteristics were analyzed, and considerations about the current state of these, drawn. The approach chosen, however, was not the description and analysis from the architectural, technical or social point of view; it was decided by an investigation that relates the development of music itself and its relationship with the space where it is played as how to strengthen this link and identify the points of intersection between the two disciplines. To do so, the work began with some examples of recently built concert halls in the Brazilian context: The Sala São Paulo (1999) and the Auditório Ibirapuera (2005), followed with an investigation of the music commonly presented in these. From the verification of this music, it was sought to characterize the momentum of architectural auditorium, with regard to spatial organization and social setting of these. Two spaces were taken as example, the Palais Garnier (1875) in Paris and the Festspielhaus (1876) in Bayreuth, because they represent, each in its way, one facet of this type. Finally there was a comparison between the music presented in these spaces and contemporary music, which reinforces the dichotomy observed and preliminarily identifying the beginning of the twentieth century as the moment of transformation of the direct relationship between architecture and music. To prove this claim, was held a retrospective of where music had preeminent importance, and in parallel, we tried to address their own concepts of music and architecture, seeking to create elements for understanding the work of musicians and architects. These concepts are essential to understanding not only of these spaces, but also of general relations between different aspects of social life of his time, of crucial importance for understanding the dimension of rupture reported. Through this review, sometwhat descriptive and linear, reflections of the reasons for the changing of the relationship between architecture and music in Modernism, and the consequences of this fact to both disciplines were made. It was also discussed aspects of contemporary music and architecture in places where it was sought an integration. Finally, the conclusions sought, from interviews with professionals and specialized literature of both disciplines, to reflect on the future of this relationship and the role of the architect in producing spaces for contemporary music. It is noteworthy that the literature that addresses this relationship is extremely scarce; this work, therefore, adopted a more general profile and broad spec- trum, rather than a specific point on a specificity of this relationship, as the beginning of a attempt to fill this void of literature.

Master of Science / Department of Educational Leadership / Christy D. Moran / This report highlights the results of a revised diversity survey that was designed to assess the behaviors and attitudes of students who live in the residence halls at Kansas State University (K-State) regarding their interactions with people from diverse backgrounds. Diverse backgrounds, for the purpose of this study, are specifically related to a racial background different than their own. A survey of 25 questions was distributed to every residence hall student via email. The survey that was distributed was adapted from a version that was used previously by the Department of Housing & Dining Services at K-State. The original survey was based on the Michael P. Tilford competencies that were compiled in 2000-2001 by K-State's Tilford Group. The Tilford competencies are all based on students' multicultural competency. Multicultural competency is defined by the K-State Tilford group as the knowledge, skills and personal attributes needed to live and to work in a diverse world. (K-State Tilford Group, 2007) The revised survey focuses heavily on the skills portion of the Michael P. Tilford competencies and is based on students' self-report.

Centro de Difusión Cultural de Lima Norte, es un proyecto localizado en el distrito de Carabayllo; cuya finalidad es difundir y concientizar al usuario con su historia y cultura, ayudando a reconstruir la identidad perdida de los pobladores y la preservación del patrimonio cultural existente. El proyecto se emplaza en la Av. José Saco Rojas, que conecta a los distritos de Puente Piedra y Carabayllo. Además se escoge este terreno debido a la cercanía de ambientes históricos del distrito, como lo son la Plaza de San Pedro de Carabayllo, la iglesia de San Pedro de Carabayllo, y la Casa Hacienda “El Fortín”; lo cual ayuda a reforzar la idea de “identidad” en la población. Está dirigido al público en general, de todas las edades, pero con un énfasis en el rango de edad entre 1- 30 años, ya que éstos son los que conforman con mayor porcentaje la población del distrito. El programa arquitectónico responde a las necesidades de la problemática identificada, usuario, y tipo de edificio que se plantea; por esta razón se ha dividido en 10 paquetes funcionales a los diferentes ambientes planteados. Para el diseño del proyecto se han tomado en cuentas diversas condicionantes que se han ido identificando a lo largo del trabajo de investigación, como las necesidades y características del lugar y el usuario. / Center of Cultural Difussion of North Lima, is a project located at the district of Carabayllo; whose purpose is to disseminate and raise awareness among the user with its history and culture, helping to reconstruct the lost identity of the inhabitants and the preservation of the existing cultural heritage. The project is located at Av. José Saco Rojas, which connects the districts of Puente Piedra and Carabayllo. In addition this land is chosen due to the proximity of the district's historical environments, such as the Plaza de San Pedro de Carabayllo, the church of San Pedro de Carabayllo, and the Hacienda "The Fortín"; which helps to reinforce the idea of "identity" in the population. It is aimed at the general public, of all ages, but with an emphasis on the age range between 1-30 years, since these are the ones that make up the population of the district with the highest percentage. The architectural program responds to the needs of the identified problem, user, and type of building that suggested; for this reason it has been divided into 10 functional packages to the different areas proposed. For the design of the project, several factors that have been identified during the research work have been taken into account, such as the needs and characteristics of the place and the user. / Tesis