Through an exploration of Toronto-based artist Allyson Mitchell’s craft-art, this thesis investigates the complexities surrounding the functions and roles of public and private spaces; particularly the home and the fine art museum within Canadian society. I propose a reading of Mitchell’s art practice, activism, scholarship, and curatorial activities that focuses on a queering of both private domestic space and public social space through a conflation of the two. Mitchell’s textile installations make intimate and cozy the otherwise impersonal space of the public art museum, while Mitchell queers the heteronormative space of the family home by turning it into a public art institution, an archive and a classroom. Mitchell’s bright textile enclosures, "Hungry Purse: The Vagina Dentata in Late Capitalism" and "Menstrual Hut, Sweet Menstrual Hut," for example, visibly disrupt the sanitized and impersonal space of the art museum, disrupting the dominant ideological framework that privileges normative assumptions of sexuality and sexual identity, and exclusionary hierarchies of class, able-bodiedness and access. While Mitchell’s theatrical textile installation, "Ladies Sasquatch," has predominantly been theorized as a queer critique of the myths of femininity, gender, sexuality, and the detrimental treatment of the female body within popular media; I present a reading of "Ladies Sasquatch" as a radical decolonizing spectacle that has the potential to interrupt larger nationalistic and colonial narratives reproduced by museums. Through these powerful interventions in public and private space, I suggest that Mitchell’s crafty installations offer playful acts of resistance that create counter narratives which function to decolonize our physical, psychic and emotional space, while also creating new imaginings that undermine the status quo. / Thesis (Master, Art History) -- Queen's University, 2013-01-14 15:58:08.015

Thesis(M.A.)--Auburn University, 2006. / Abstract. Includes bibliographic references.

Made available in DSpace on 2016-04-15T23:47:54Z (GMT). No. of bitstreams: 2 Norma Fonseca Vianna1.pdf: 1214391 bytes, checksum: d7ec82c7b60f0a68bfe808eb15a518a5 (MD5) Norma Fonseca Vianna2.pdf: 724930 bytes, checksum: 22cd0b027ca1ad4d58908e4d4fb404e5 (MD5) Previous issue date: 2007-12-13 / Common spaces comprise areas of private usage which allows in its schedule spaces that intermarry to public usage. The aim of this work is to reflect upon the relations between public spaces and private spaces; to introduce the discussion over the role and the values of these spaces in present cities and how the Architect interferes in the city s schedule. Proposal of projects that contain common spaces are analysed, covering the following characteristics: urban requalification and the reestablishment of the fresh air sociability in a city needy of spaces; the integration between the State (public) and Empresarial strategies (private) with participative urban policies; the public possibility of the private project to establish itself in the urban level and to manifest itself on the city image trough the spaces of public sociability; the Symbolism and the dialog representation between the social fields, productive and ambient; common space of exchange, circulation and a net of connections between the blocks; the possibility of bigger retreats, shading, adequate flow and the reestablishment of the fresh air sociability in a city needy of spaces. Case studies, that covers three projects in São Paulo city, are accomplished, as follows: Cetenco Plaza, project of architects Rubens Carneiro Vianna and Ricardo Sievers; Itau Empresarial Center (CEIC), project of architects Jaime Cupertino and Francisco Javier; and Brascan Century Plaza, project of architects Jorge Konigsberger and Gianfranco Vannucchi. / Os espaços coletivos compreendem as áreas de uso privado que permitem em seu desenho espaços que se misturam aos de uso público. Este trabalho tem por objetivo: refletir sobre as relações entre espaços públicos e espaços privados; introduzir a discussão sobre o papel e os valores destes espaços na cidade atual e como a posição do arquiteto interfere no desenho da cidade. São também analisadas propostas de projetos que contenham espaços coletivos, envolvendo algumas características. São elas: a requalificação urbana e o restabelecimento da convivência ao ar livre em uma cidade carente de espaços; a integração entre Estado (público) e estratégias empresariais (privado) e as políticas urbanas participativas; a possibilidade pública do projeto privado se implantar em um nível urbano e se traduzir na imagem da cidade através de espaços de convivência pública; o simbolismo e a representação do diálogo entre as esferas sociais, produtivas e ambientais; o espaço comum de troca, circulação e uma malha de conexões entre as quadras; a possibilidade de maiores recuos, sombreamento e ventilação adequada. São ainda apresentados três projetos na cidade de São Paulo, na condição de estudos de casos: Cetenco Plaza, projeto dos arquitetos Rubens Carneiro Vianna e Ricardo Sievers; Centro Empresarial Itaú Conceição (CEIC), projetos dos arquitetos Jaime Cupertino e Francisco Javier e Brascan Century Plaza, projeto dos arquitetos Jorge Konigsberger e Gianfranco Vannucchi.

Made available in DSpace on 2016-04-16T00:15:06Z (GMT). No. of bitstreams: 10 Joana Sarue Machado1.pdf: 2875375 bytes, checksum: 2ea6c80845c2b2b37a16cc724a0ce5d4 (MD5) Joana Sarue Machado2.pdf: 2543694 bytes, checksum: 083f88bc0bb56116f012a32f804c3e73 (MD5) Joana Sarue Machado3.pdf: 2926003 bytes, checksum: b8bfb7a6c30c807c852693174d6df562 (MD5) Joana Sarue Machado4.pdf: 2151609 bytes, checksum: 964268b5fcb59519c0bea520a5381fb9 (MD5) Joana Sarue Machado5.pdf: 2352007 bytes, checksum: 30ec435dc0f20406cde01b94c9f7342e (MD5) Joana Sarue Machado6.pdf: 2661126 bytes, checksum: c6186df18e1b2fa050ca9ad1a0eaf00c (MD5) Joana Sarue Machado7.pdf: 1296493 bytes, checksum: 3045b81f4f754d33e02c1d4a04a8a270 (MD5) Joana Sarue Machado8.pdf: 1272144 bytes, checksum: 40f6d41246f5f528c8effa6cafd8ca13 (MD5) Joana Sarue Machado9.pdf: 952078 bytes, checksum: 76ec475c2d33af8a93800a235b572f19 (MD5) Joana Sarue Machado10.pdf: 239653 bytes, checksum: 85893339f0227b78630cddfaf99dbc0e (MD5) Previous issue date: 2008-08-13 / Analysing the ancient spaces designed for commerce in the history of civilisation it is possible notice that such places were not just used for the exchange of goods, but were also a place for meeting and for public life of citizens, as was the case of the Arabian bazaar, the Greek ágora and the Paris markets. This use of public space for commerce will undergo great changes after the Industrial Revolution, when products began to be produced in large scale and when population as a whole started to have access to the the places that sold these goods. It is the time of the appearance of big department stores and commercial arcades. Arcades, also called passages, first appeared in Paris, in the end of the 19th century, and spred throughout the world, modifying the relations between public and private in the urban space of cities. Being a private facility, accessible to the public in general, it was possible to browse through it without buying something. Differently from indoor shopping centres these spaces related in a more open way with the city, without visible barriers between public, private or semi-private spaces. In São Paulo commercial arcades appeared in the 20th century, following the Frnech idea of increasing the "profitable" areas of buildings. Most of them exist up to now and are located downtown. With their uses focused on commerce, many of them have specialised in one type of product. They are still used as passages by pedestrians who only wish to cross blocks through their interior. This research aims to analyse some of these places from the point of view of the relation established between public and private spaces taking into consideration the access, internal circulation and other important items in the project of each one of these arcades. / Ao analisar os antigos espaços destinados ao comércio na história da civilização mundial pode-se notar que esses locais não só se destinavam à troca de mercadorias excedentes, mas também funcionavam como lugar do encontro e da vida pública dos cidadãos, como era o caso do bazaar árabe, da ágora grega e dos mercados de Paris. Este uso do espaço público para o comércio irá sofrer grandes modificações com a Revolução Industrial, quando as mercadorias passaram a ser produzidas em grande escala e a população como um todo passou a ter acesso ao local de venda destes produtos. É a época do surgimento das grandes lojas de departamento e das galerias comerciais. As galerias, também chamadas de passagens, surgiram em Paris, no século XIX e se espalharam pelo mundo, modificando as relações entre público e privado no espaço urbano das cidades. Por ser um espaço privado, acessível ao público em geral, pôde-se transitar nele sem que a necessidade de consumir algo. Diferentemente dos centros de compras fechados, estes espaços se relacionavam de forma mais aberta com a cidade, sem barreiras tão definidas entre os espaços públicos e privados ou semi-privados. Em São Paulo as galerias comerciais surgiram no século XX, tendo como base a idéia francesa e com a intenção de aumentar as áreas "rentáveis" dos edifícios. A grande maioria delas existe até hoje e está localizada no Centro Novo da cidade. Com seus usos destinados ao comércio e serviços, muitas delas acabaram por se especializar em algum tipo de produto. São utilizadas também como passagem para os pedestres que querem apenas cruzar as quadras através de seu interior.Esta pesquisa visa a análise de alguns destes lugares, do ponto de vista da relação que estabelecem entre os espaços público e privado, levando em conta os acessos, circulação interna e outros pontos importantes do projeto de cada uma dessas galerias.

[ES] La investigación se centra en los hostels urbanos contemporáneos desde la perspectiva de la arquitectura situando el foco en su rasgo definitorio: la cama como único espacio privado en un alojamiento colectivo. Se parte de la hipótesis de considerar que a raíz de cambios recientes en los hábitos y en las demandas de sus usuarios, este mueble tiende a diseñarse con un formato análogo a una pequeña habitación. Concebir las camas como habitáculos permite comprender los hostels como una agrupación de piezas completas e independientes instaladas en espacios colectivos de mayor tamaño. El resultado es un paisaje interior compuesto de camas que pone de manifiesto la aproximación entre este mueble y la ciudad. En base a este argumento, la cama se contempla como pequeña construcción, que integra componentes que amplían sus posibilidades de uso y le independizan de su entorno, a la vez que como unidad habitacional de arquitecturas de mayor tamaño caracterizadas por la ausencia de dormitorios privados y por su carácter colectivo. El mobiliario y su disposición en el espacio aporta información sobre un momento cultural e ideológico concreto. En este sentido, una modificación sustancial de algún aspecto constituye un síntoma de un cambio de costumbres de quienes hacen uso de él, permitiendo comparar formas de vida de contextos dispares a partir de soluciones equiparables en sus muebles. El presente trabajo tiene el objetivo de profundizar en el papel que adquiere la cama en los hostels y explorar la forma de vida asociada a su formato. Para ello, por un lado, se toman los albergues juveniles de la ciudad de Barcelona como caso de estudio. Este análisis permite explicar el programa desde la mirada de un arquitecto y detectar las transformaciones que con el tiempo han tenido lugar en el diseño de sus camas y en sus organizaciones espaciales. Por otro lado, se lleva a cabo una selección y comparación de un conjunto de imágenes de camas de procedencia dispar con formatos equiparables a las del hostel. La recopilación evidencia la relación existente entre el uso y el diseño del mueble, las características del espacio en el que se dispone y la mentalidad de la sociedad a la que pertenece. La comparativa permite contemplar los diseños de otras épocas como vigentes a la vez que poner en valor la cama de los hostels al contrastarla conceptualmente con otros ejemplares paradigmáticos. Mientras que el análisis documenta un caso de estudio concreto, su comparación con otros modelos pretende comprenderlo. Ampliar la mirada sobre la forma de alojamiento estudiada lleva a reflexiones a las que no se habría llegado solo con la observación de los hostels. El discurso revela la arquitectura que comporta el mueble de la cama y traza asociaciones entre su diseño y aspectos relativos al espacio en el que se dispone y a los modos de vida predominantes del contexto al que pertenece. Se trata de una llamada de atención sobre un objeto extremadamente cotidiano para expresar la importancia de revisitarlo a día de hoy. / [CA] La investigació se centra en els hostels urbans contemporanis des de la perspectiva de l'arquitectura situant el focus en el seu tret definitori: el llit com a únic espai privat en un allotjament col·lectiu. Es parteix de la hipòtesi de considerar que arran de canvis recents en els hàbits i en les demandes dels usuaris, aquest moble tendeix a dissenyar-se amb un format anàleg a una petita habitació. Concebre els llits com a habitacles permet comprendre els hostels com una agrupació de peces completes i independents instal·lades en espais col·lectius més grans. El resultat és un paisatge interior compost de llits que posa de manifest l'aproximació entre aquest moble i la ciutat. En base a aquest argument, el llit es contempla com a petita construcció, que integra components que amplien les seves possibilitats d'ús i l'independitzen del seu entorn, alhora que com a unitat habitacional d'arquitectures més grans caracteritzades per l'absència de dormitoris privats i pel seu caràcter col·lectiu. El mobiliari i la seua disposició a l'espai aporta informació sobre un moment cultural i ideològic concret. En aquest sentit, una modificació substancial d'algun aspecte constitueix un símptoma d'un canvi de costums dels qui en fan ús, permetent comparar formes de vida de contextos dispars a partir de solucions equiparables als mobles. Aquest treball té l'objectiu d'aprofundir en el paper que adquireix el llit als hostels i explorar la forma de vida associada al seu format. Per això, per una banda, es prenen els albergs juvenils de la ciutat de Barcelona com a cas d`estudi. Aquesta anàlisi permet explicar el programa des de la mirada d'un arquitecte i detectar les transformacions que amb el temps han tingut lloc en el disseny dels llits i les organitzacions espacials. D'altra banda, es fa una selecció i comparació d'un conjunt d'imatges de llits de procedència dispar amb formats equiparables als del hostel. La recopilació evidència la relació existent entre l'ús i el disseny del moble, les característiques de l'espai on es disposa i la mentalitat de la societat a què pertany. La comparativa permet contemplar els dissenys d'altres èpoques com a vigents alhora que posar en valor el llit dels hostels en contrastar-lo conceptualment amb altres exemplars paradigmàtics. Mentre que l'anàlisi documenta un cas d'estudi concret, la comparació amb altres models pretén comprendre'l. Ampliar la mirada sobre la forma d'allotjament estudiada porta a reflexions a què no s'hauria arribat només amb l'observació dels hostels. El discurs revela l'arquitectura que comporta el moble del llit i traça associacions entre el disseny i els aspectes relatius a l'espai on es disposa i als modes de vida predominants del seu context. Es tracta d'una crida d'atenció sobre un objecte extremadament quotidià per expressar la importància de revisitar-lo avui dia. / [EN] The research focuses on contemporary urban hostels from an architectural perspective, placing the central point on their defining feature: the bed as the only private space in collective accommodation. It starts from the hypothesis of considering that this piece of furniture tends to be designed in a format analogous to a small room as a result of recent changes in the habits and demands of its users. Conceiving beds as rooms allows us to understand hostels as a group of complete and independent pieces installed in larger collective spaces. The result is an interior landscape composed of beds that reveals the relationship between this piece of furniture and the city. Based on this argument, the bed is considered as a small construction, which integrates components that expand its possibilities of use and make it independent from its surroundings, and at the same time as a living unit of larger architectures characterized by the absence of private bedrooms and by their collective nature. This furnishing and their arrangement in the space provide information about a specific cultural and ideological moment. In this sense, a substantial modification of some aspect is a symptom of a change in the habits of those who use it, making it possible to compare lifestyles from different contexts on the basis of comparable solutions in their furniture. The aim of this research is to study the role of the bed in hostels and to explore the way of life associated with their format. To do this, on the one hand, the youth hostels in the city of Barcelona are taken as a case study. This analysis explains their program from an architect's point of view and detects the transformations that have taken place over time in the design of its beds and in its spatial organizations. On the other hand, a selection and comparison of a set of images of beds of different origins with formats comparable to those of hostels is carried out. This collection evidences the relationship between the use and design of the furniture, the characteristics of the space in which it is arranged and the mentality of the society to which it belongs. The comparison allows us to consider the designs of other periods as valid while highlighting the value of hostels beds by conceptually contrasting them with other paradigmatic examples. Whereas the analysis documents a specific case study, its comparison with other models aims to understand it. Broadening the gaze on the form of accommodation studied leads to reflections that would not have been possible by observing the hostels alone. The discourse reveals the architecture of the bed furniture and draws associations between its design and aspects related to the space in which it is arranged and the predominant ways of life in its context. It is a call for attention to an extremely everyday object to express the importance of revisiting it today. / Tesis realizada gracias a la financiación del Ministerio de Educación y Formación Profesional a través de un contrato de formación de profesorado universitario (FPU-16/01717, octubre 2017-marzo 2022) y una ayuda para una estancia de investigación (marzo-mayo 2019). / Miguel Pastor, MD. (2023). De la cama a la ciudad. Aproximación al hostel urbano desde el ámbito privado. Barcelona como caso de estudio [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/196680

Cette recherche s’intéresse aux espaces équivoques, soit des espaces jugés ambigus en raison des modes d’appropriation qu’on y retrouve. Par un processus heuristique et à l’aide d’une double étude de cas exploratoire, qui emprunte des méthodes de recherche ethnographiques, cette recherche a pour objectif de mieux caractériser les espaces équivoques. Les deux espaces considérés, tous deux situés dans la partie nord de l’arrondissement du Plateau-Mont-Royal à Montréal, sont un terrain vague informellement appelé le Parc sans Nom et une friche industrielle informellement appelée le Champ des Possibles. Les positions des gestionnaires municipaux et des usagers des deux sites seront analysées selon trois dimensions : les contraintes physiques, les mesures coercitives et les perceptions du risque et du potentiel de conflits. Les résultats issus de ces analyses permettent de constater que les espaces équivoques émergent par processus de co-construction. Ces résultats permettent également de soulever des pistes de réflexion sur les rapports entre les individus et l’espace urbain. / This research takes an interest in the equivocal spaces, which means the ambiguous spaces resulting form different forms of spatial appropriation that take place in them. By a heuristic process and with an exploratory two case studies, which use ethnographic research methods, this master thesis aims to characterize the equivocal spaces. The two spaces considered, both situated in the north part of the Plateau-Mont-Royal’s borough in Montreal, are a wasteland informally called Parc sans Nom and an industrial vacant lot informally called Champ des Possibles. With a qualitative approach, the positions of the municipal authorities and of the users of the two sites, in terms of the physical constraints, the coercive measures and the perceptions of risk and potential of conflict in the two spaces, will be analyzed. The results of this analysis allow us to find that the equivocal spaces emerge from a co-construction process. The results allow us also to underline some considerations on the people’s relationship to urban space.

Cette recherche s’intéresse aux espaces équivoques, soit des espaces jugés ambigus en raison des modes d’appropriation qu’on y retrouve. Par un processus heuristique et à l’aide d’une double étude de cas exploratoire, qui emprunte des méthodes de recherche ethnographiques, cette recherche a pour objectif de mieux caractériser les espaces équivoques. Les deux espaces considérés, tous deux situés dans la partie nord de l’arrondissement du Plateau-Mont-Royal à Montréal, sont un terrain vague informellement appelé le Parc sans Nom et une friche industrielle informellement appelée le Champ des Possibles. Les positions des gestionnaires municipaux et des usagers des deux sites seront analysées selon trois dimensions : les contraintes physiques, les mesures coercitives et les perceptions du risque et du potentiel de conflits. Les résultats issus de ces analyses permettent de constater que les espaces équivoques émergent par processus de co-construction. Ces résultats permettent également de soulever des pistes de réflexion sur les rapports entre les individus et l’espace urbain. / This research takes an interest in the equivocal spaces, which means the ambiguous spaces resulting form different forms of spatial appropriation that take place in them. By a heuristic process and with an exploratory two case studies, which use ethnographic research methods, this master thesis aims to characterize the equivocal spaces. The two spaces considered, both situated in the north part of the Plateau-Mont-Royal’s borough in Montreal, are a wasteland informally called Parc sans Nom and an industrial vacant lot informally called Champ des Possibles. With a qualitative approach, the positions of the municipal authorities and of the users of the two sites, in terms of the physical constraints, the coercive measures and the perceptions of risk and potential of conflict in the two spaces, will be analyzed. The results of this analysis allow us to find that the equivocal spaces emerge from a co-construction process. The results allow us also to underline some considerations on the people’s relationship to urban space.