This autoethnographic research project explores how a first-generation Canadian Ismaili Muslim, grapples with the tensions of belonging and identity while living in the in-between spaces of multiple social locations. Using an intersectional third-wave feminist approach, a method I term “third-wave dervish”, I metaphorically spin in a similar manner to a whirling dervish. Each spin provokes a round of critical reflection grounded in a node of intersect. Throughout the dance, how each node of intersect – religion and spirituality, geographical location, ethnicity and culture, and gender – implicates the in-between spaces I find myself located within, on the periphery of, and wavering between is explored. Narratives from my early years, adolescence, as a young adult in a graduate classroom, and as a young practitioner serve as data. For the first time, during re-iterations of memories, experiences of being minoritized and racialized are acknowledged and I begin to challenge gender binaries and offer insight into how I unknowingly negotiated and navigated complex social spaces. Personal experiences and reflections are then translated beyond the self to offer insight into how human and social development practitioners can use the key findings of how a brown-bodied female moved through childhood, adolescence, and young adulthood. The dissertation offers suggestions for practitioners to actively engage in, understand, and respond to children and youth’s verbal and non-verbal responses to experiences they are having. In addition, the text outlines the benefit of and ways in which practitioners may encourage difficult conversations with clients who are minoritized, and how to foster safe spaces for children, youth, and young adults to explore their sense of belonging and identity. / Graduate

Those who eat share a relationship with design. The Museum of Gastronomy, a museum located at the Washington D.C. National Mall, would dedicate a space to a full-sense experience pursuing a relationship between food, culture, and design. The National Mall is a symbolic setting dedicated to U.S. heritage via museums, memorials, and the honoring of legacies accessible to the public. As the U.S. is a melting pot of different nationalities, this museum would fill an open niche devoted to celebrating the cultural heritage of cooking throughout the cycle of food consumption. As consumers, regardless of notice or intention, we have an intimate relationship with food as means of survival. Cooking, the method for preparing this vital element, is also an expression of culture, style, and use of available resources. In essence, cooking is an everyday design: a crucial aspect of our very survival. Therefore: food → cooking → design → survival → food → cooking Similarly, it is the architect's mission to reach an effective design with available "ingredients," forces, or kit-of-parts within a project. In the Museum of Gastronomy, the architect would become the unifying source between a relationship literally built between food, people, and design in an interactive experience. This would result in a space dedicated to showcasing and combining the concept of "cooking is designing." Incorporating these components into a museum located at the National Mall would personify an experience of the cooking processes as a building block of every-day observation of design. / Master of Architecture

La thèse s'intéresse aux interventions chorégraphiques performatives et événementielles impulsées par diverses structures, ou générées par des activités auto-organisées dans l'espace public. L'objectif est d'identifier en quoi les nouveaux usages qui se développent depuis les années quatre vingt en France, participent de la transformation progressive des espaces des usages. En effet, l'apparition de formes de sociabilités inhabituelles impulsées par une ouverture spatiale des dispositifs va progressivement enrichir leur dynamique intrinsèque, et participer à les qualifier d'" espaces intermédiaires ". Par là-même, l'étude montre comment l'imbrication de différents mondes sociaux pluralise les engagements des acteurs, et complexifie les processus de reconnaissance identitaire dans le monde de la danse. De nouveaux usages sociaux, économiques et corporels apparaissent alors à l'interface des espaces plus légitimes. Or, l'analyse des carrières envisagées à partir des différentes formes de socialisation conduit aussi à distinguer plusieurs types d'acteurs collectifs présentant des conceptions différenciées de la territorialité. C'est ainsi que les compétences développées par certains danseurs, chorégraphes et intermédiaires culturels œuvrant dans l'in situ, résultent plus que les autres d'une véritable capitalisation des expériences spatiales dynamisées par l'encastrement entre différents mondes sociaux. Ces acteurs vont alors participer à brouiller les frontières du marché du travail de la danse, puisque leurs compétences vont réfléchir sur leur socialisation professionnelle et sur leurs engagements sur les différents réseaux sociaux du monde de la danse. / This dissertation focuses on event-driven and performance, choreographic interventions; such interventions could either be created by cultural institutions or rise from self-organized activities occurring in public space. The main purpose of this work is to identify new spatial practices which have developed since the 80s in France, and how they are part of a gradual change in the broad spectrum of practices. Indeed, as art arrangements grew to become more and more spatially opened, new and unusual sociability forms appeared. These new forms fuelled the intrinsic dynamic of these new arrangements, leading them to be labelled as " in-between spaces ". It is thus revealed how actors' engagements are pluralized through the overlapping of different social worlds. These crossings between worlds add a great complexity to identity recognition processes in the dance world. New social, economic and corporeal practices appear at the interface of more legitimate spaces. However, by analyzing the careers from the different forms of socialization also leads to distinguishing between several types of collective actors which develop differentiated conceptions of territoriality. In this way, the competencies developed by certain dancers, choreographers and cultural intermediaries working in situ, are more (than others) the result of a real capitalization of spatial experiences which are invigorated by the embedment of different social worlds. These actors will then blur the limits of the dance job market, because their competencies will reflect professional socialisation and their engagements in different social networks in the world of dance.

La facultad de Ingeniería de Sistemas busca brindar a la comunidad estudiantil de la universidad San Luis Gonzaga de Ica una infraestructura de acorde a las necesidades educativas de la carrera; de manera que dicha infraestructura no solo sea una casa de estudios, sino que se convierta en parte de la formación educativa. También responder a las relaciones sociales de esta generación estudiantil a través de los principios del In between, los cuales permiten crear espacios de encuentro; lugares de transición entre dos realidades y un recorrido espacial que genera dinamismo en la arquitectura. / The Faculty of Systems Engineering seeks to provide the student community of the San Luis Gonzaga University with an infrastructure according to the educational career needs. This infrastructure is not only a study house, also becomes part of the educational cursus. This building is matching the student social interactions of the last decades through the in between values, which allow to create meeting spaces; places of transition between two realities and a dynamic space route in the building / Tesis