This thesis focuses on a few of the different possibilities for an infill housing project. The site is located in Queens, New York, adjacent to the East River. The site is an old railroad yard. The surrounding neighborhood is a mixture of commercial and residential areas. The linear axis of the site offers the possibility for a strong horizontal object for the city. / Master of Architecture

This thesis explores an alternate typology for a residential high rise in the Hudson Square neighborhood in Manhattan. The units that make up the building are organized with stairs and corridors placed along the interior perimeter of the unit which both bound the central floor space and expose it, creating a layered vertical circulation space around a central, permeable core. The collective organization of units within the building recapitulate their interior organization to form the building object creating a whole that is governed by the same organizational rules as the parts. The building is created as an object in the city meant to frame the duality between transparency and reflection, between lines and surfaces and ultimately between exhibition and anonymity. / Master of Architecture

This dissertation uses quantitative data on city cinematography and the morphological study of filming locations to identify how differences in ways of seeing cities, as shaped by cinematographic choices, are anchored both in differences in what is physically present as well as in differences in frameworks and expectations about what might be interesting or important to see. Four films are evaluated that are set in Los Angeles and New York, two cities recognized as paradigms in American urbanism: The Naked City (1948), The Long Goodbye (1970), Goodfellas (1990), and Pulp Fiction (1994). In general, the New York movies suggest the embeddedness of the individual in the city and its social life in ways tied closely to urban form, with the visual presentation of the street acting as an index to the position of the individual within the narrative. Los Angeles, by contrast, presents the city as a series of enclaves linked by infrastructure. The street as a sociologically relevant entity hardly exists, with the exception of a handful of chase scenes, as though only crisis can catalyze direct encounters with the streets of Los Angeles. Within individual movies, the depiction of city form reveals directorial idioms in the presentation of the narrative. The Naked City exploits corner shots to impart greater visual interest to the presentation of activity in the streets. The Long Goodbye shows the degradation of the distinction between public and private space as concurrent with a city form and culture that resists decoding. Goodfellas develops a grammar of views on the street that corresponds to the relationships of individual characters to overlapping social groups over time. Pulp Fiction mainly presents city locations as decontextualized to focus on dialogue and relationships, to sculpt urban form to meet the exigencies of the narrative, and to all the more powerfully introduce surprise. In the concluding chapter, the qualities of the city as presented in Goodfellas and Pulp Fiction and both of the cities are diagrammed and discussed relative to architectural precedents and ideas that might inform architectural design.

Syftet med uppsatsen har varit att undersöka alkoholvanornas betydelse för människors inskrivning vid fattighus i New York state i USA. Den tidsperiod som behandlas i uppsatsen är år 1892. De faktorer som ligger till grund för jämförelsen är etniska och socioekonomiska faktorer. För att undersöka detta har inskrivningskort från fattighusen i staten New York använts och sedan har det gjorts en kvantitativ undersökning. De resultat som visar sig i denna uppsats är att alkohol- vanorna för svenskfödda och infödda faktiskt skiljde sig. Det var vanligare att de som var födda i Amerika hade alkoholproblem som påverkat deras situation, än vad det var för de svenskfödda. Re- sultatet visar även på att den sociala mobiliteten varierade mellan de valda fattighusen som under- söktes. Dock var det vanligare i alla fattighusen att de inskrivna hade sjunkit i kategorier av yrken och i de sociala rummen.

How do we engage with old photographs or with images that appear to be “old?” Moreover, how do we relate to the past through such images? These are questions I explore through a series of photographs created between 2007 and 2013 by master printmaker, Lothar Osterburg (German, b. 1961). For Imagining New York, Osterburg worked purely from memory, building models of the city from found and everyday materials and composing them through the frame of a fixed camera lens. As his look through the lens suggests, Osterburg’s New York stems, perhaps primarily, from memories of images. His final images, printed as photogravures, may create a similarly memory-fueled experience for the viewer. These images may look and feel quite familiar, but they resist easy identification; the strange artificiality and generic nature of the model may bring to mind any number of associations—real and fictional—spanning the turn of the twentieth century, each slipping into the next. Thinking Imagining New York through Sigmund Freud’s potentially productive melancholia, and Walter Benjamin’s melancholic “historical materialism,” I suggest that the ambivalence of Osterburg’s images—their particular fixation on the past—invites a mode of viewing that produces a certain distance, a critical remove not only from habitual viewing practices, but also from the viewer’s own relation to the past. But how is this melancholic movement productive today? Osterburg’s images may point to a collective experience in seemingly personal “historical processes” of reflection; emphasizing the status of the past in the imagination as image, it may become something that—together—we actively access and construct to inform the present. And through the critical distance they prompt, these images suggest “work” that is productive in acknowledging, specifically, the misrecognition of the social. During this process of prolonged disjuncture of temporality and space, the viewer quite literally “sees” these images differently. Or rather she may “see” herself seeing them, to become aware of her active role as viewer, as an active presence in the present. And in turn, it may be that the past—a kind of cultural experience—becomes an active, present social formation. / text

This study examines the role of things in the making of New Netherland in the seventeenth century and the formation of New York in the early eighteenth century. With an attention to the translations of form and transculturations of meaning for objects, which have often led peripatetic lives, I focus on previously marginalized crafts and everyday objects like books, tea tables, chairs, hearth tiles, and other domestic goods found in peoples’ homes, to describe the way things connected people and places in early modern Dutch trade networks. Through a careful analysis of objects of material culture and depictions of material culture I focus on how the colony was physically constructed and ideologically imagined internally by the colonists and externally by other interested parties throughout Atlantic world. My research on the making, circulation, and consumption of things in and from New Netherland develops intersecting narratives of the past, some of them regional and localized, others cross-cultural, transnational, and global. By connecting artifacts, objects, and things to larger narratives it is possible to write a new history of materiality and the making of New Netherland, primarily in the seventeenth century but also in later histories. In what follows, through the examination of increasingly mobile and hybrid material cultures in the Dutch Republic and New Netherland, I demonstrate that just like materialism and morality, worldliness and homeliness were not binary constructs, but mutually constructive and inextricably intertwined in the oud and nieuw Netherlands. / Thesis (Ph.D, Art History) -- Queen's University, 2013-10-12 18:03:55.576

This thesis made a phonological analysis of the features in the Appalachian speech pattern used by native speakers of western Steuben County, New York: (1) to identify phonological features predominant in this specific area of Appalachia, (2) to describe the speech patterns of the elderly inhabitants, and (3) to identify possible phonological trends among three discrete age groups of native speakers.The selected sample of twelve speakers, who had been born in and had spent most of their lives in the area, comprised three age groups which represented the population distribution of the area.In addition to the predominance of the fronted nasal /a/, the predominance of high nasal /ae/, centralized /I/, diphthongs before /r/, and the distinctive pronunciation of Chili, Castile, Lima, and Nunda, there is a tendency toward unrounding which leads to preference for /U/ over /u/ and for /^/ over // in unstressed position.It was concluded that more phonological agreement exists within the oldest and the youngest age groups, that more phonological agreement exists between the oldest and the middle age groups, and that greatest disagreements between age groups occurs between the oldest and the youngest groups of speakers.

The knife is a major character in my work. Sections of paper, cut, painted, and bound together form shallow reliefs. In recontextualizing quotidian objects such as fruit, plants, curtains, and shrimp cocktails, they are reconfigured, their original functions replaced with those of physical pleasure and perversion. Caught in private moments of leisure and play, anonymous fetishistic and often mundane subjects pose with theatricality heightened by graphic forms and a high-contrast palette. Strangers exist between actions. Each composition appears to take place before or after an event. Restrained scenes reveal a conservative eroticism. Dark humor and absurdity distill queer images. Themes of control, anxiety, and desire embed within each psychological arrangement. Though based on true stories and real people, the following accounts are fictional, designed to contextualize the aforementioned scenarios.

No description available.

The Altona Formation represents the oldest Cambrian sedimentary unit in northern New York, recording cyclic deposition in shallow marine and fluvial environments under both fair-weather and storm conditions. Five outcrops and one well log were measured and described at the centimeter scale and the top and bottom contacts of the Altona were identified. Based on the recognition of sedimentary structures such as hummocky cross stratification, oscillatory ripples, graded bedding, trough and tabular cross stratification, and bioturbation, as well as subtle lithologic changes, six lithofacies representing non-marine, middle to upper shoreface, offshore, and carbonate ramp environments were identified. The top contact with the overlying Ausable Formation is characterized by inter-tonguing marine to non-marine siltstones and cross stratified medium sandstones. The lowermost Altona is found to lie only one meter above Precambrian basement and is interpreted to be the only non-marine facies in this unit. Throughout the 84-meter thick section, stratigraphy records a transition from upper/middle shoreface to carbonate ramp deposition and offshore muds before cycling between upper shoreface, carbonate ramp and non-marine deposits. Based on parasequence architecture, this section of rock is interpreted to represent the transition from the transgressive systems tract to the highstand systems tract. Thin sections analysis from each lithofacies quantified grain size and composition and identified a provenance. Modal analysis data from clastic lithofacies reveals subarkose to arkose sandstones with an accessory mineral suite including ilmenite, apatite, rutile, and zircon. Integrating the compositional data, particularly the accessory mineral suite, with detrital zircon dates of 1000 - 1300 Ma (Chiarenzelli et al., 2010) suggests that the Grenville Adirondacks in particular the AMCG suit and Lyon Mountain Granite are a likely source rock. Comparison with the Monkton Formations of Vermont suggest that these two units were deposited under similar sea level conditions and are therefore correlative. Provenance study suggests that they were both sourced form the Adirondack Mountains. The major difference is in their depositional environments as the Monkton represents deposition of predominantly tidally influenced deltaic environment. The environmental processes acting on the two units suggests that the paleogeography of the Iapetus margin in this area was an embayed coastline.