Thesis (M.Arch.)--University of Hong Kong, 2004. / Includes special report study entitled : The role of public art in urban regeneration. Also available in print.

Master of Landscape Architecture / Landscape Architecture/Regional and Community Planning / Jason S. Brody / Recycling programs and public art have the capacity to improve the urban environment and quality of life to enhance downtown neighborhoods for residents, employees, and visitors (Miles 1989; Kansas City Design Center 2015). Kansas City, Missouri, currently does not have a strategic recycling program in place for multi-family housing or commercial businesses. Additionally, Downtown lacks appropriate recycling infrastructure in the public realm. This lack of private and public recycling infrastructure has created a general lack of awareness within the Downtown community. Using public art as a catalyst, Downtown Kansas City has the opportunity to increase recycling participation and awareness in the public realm through an engaging recycling and public art system. This project will utilize the work from Kansas City Design Center (KCDC) spanning the Art in the Loop Vision Plan and the Recycling Vision Study. Through research and design development strategies, a cohesive system can build a network of connected sites that have strong relationships to both recycling and art narratives. These overlapping stories of recycling and art will activate the public realm driving increased awareness of the recycling issues. Collaboration with the KCDC studio and local artists has lead to the design implementation of the Showcase Node at the Main Street and Truman Road site which was established in the RE[CONSIDERED] vision proposal. This site will be activated through local artists each year and they will be challenged to utilize locally sourced recycled material to create artful and interactive installations. A temporary light frame structure will allow artist to house these rotating art installations to show the city what their recycled materials can transform into. Together, the coordination of public art and recycled materials can inspire and create a meaningful impact in Downtown Kansas City.

Thesis (M.A.) -- University of Texas at Arlington, 2008.

published_or_final_version / abstract / toc / Fine Arts / Master / Master of Philosophy

This corporate strategy for public art proposes a comprehensive yet incremental process to address the most pressing concerns now facing the City of Vancouver in planning for public art. The strategy, including its implementation, is deliberately incremental. The need for flexibility in planning for public art emerged from discussions with public artists, arts administrators and consultants; interviews with authors of recent exemplary public art plans; review of literature and other documentation, including the popular culture; and my personal understanding of public art from the perspective of public art producer, planner and urban designer. The proposals are informed by a review of the evolution of public art, planning and planning for public art. They are proposed within a historical context of public art planning in Vancouver and build upon the inventory and analysis of processes already in place within the civic administration. The strategy recommends upgrading the existing Art in Public Places Subcommittee into a Public Art Commission and the creation of three new advisory bodies, all with strong professional staff support, to ensure broader participation in public art while increasing the breadth of expertise to deal with aesthetic judgements, commemoration, urban design and other public realm issues in Vancouver. It also recommends restructuring the civic administration by dissolving the Board of Parks and Recreation; consolidating the urban realm design functions of the Board of Parks and Recreation, the Engineering Department and the Planning Department into a holistic urban design group; consolidating cultural planning and development functions associated with Community Centres into the Social Planning Department; and creating a new Department of Parks and Recreation responsible primarily for park maintenance and recreation functions. The proposed definition of public art is all-inclusive to encourage rather than limit or inhibit the most creative, innovative possibilities whether permanent or temporary, physical or ephemeral. The entire process is proposed to be open to wide community participation. It welcomes grass-roots initiatives and promotes project development and management by existing Vancouver organisations involved in the production of public art. The inherent flexibility of this incremental strategy allows responsiveness to the community, civic aspirations, and the evolving nature of our understanding of public art. It facilitates the development of a common and evolving vision in Vancouver for a more humane city through the media of public art. By planning through the use of art to make places public, it begins to allow us to recapture the public essence of urban living. / Applied Science, Faculty of / Community and Regional Planning (SCARP), School of / Graduate

The thesis, Öppet Lager, (Open Storage) attaches a public structure to Moderna Museet’s off-site storage to bring together the showing and storing of art. As it is inevitable that large institutions cannot show their full collections, many of their works of art will be stored away from the public. Moderna Museet currently has 283 artworks on display at Skeppsholmen which is around 0.25 percent out of their collection of 140 000 pieces. As collections continue to grow the percentage of what is shown decreases, and the storage spaces fill up. To open the storages of art Öppet Lager addresses the conflict between showing and storing art and how objects could be displayed without compromising the administrative functions of transportation, conservation, and research. By proposing an alternative way to store art, the project aims to create greater access to works of art that would otherwise be sleeping deep in storages.

No description available.

Student Number : 0419845J - MA research report - School of Arts - Faculty of Humanities / The aim of this research report is to explore the extent to which public art in postapartheid, democratic South Africa may contribute both to urban regeneration and nation building as well as the extent to which contemporary African monumental public art could reflect African heritage and traditions (Nettleton 2003:3). Another issue that is explored is the role of patronage in determining the function of public art in post-apartheid South Africa. Case studies in the form of two examples of post-apartheid public, namely the Freedom Park and the Constitution Hill projects art are used to explore the functions of public art in South Africa. In summary this research report therefore analyses: • The nature and function of public art-historical issues; • The practical issues affecting the production of public art in post-apartheid South Africa; • The socio-political factors that mitigate for or against the ability of public art to function effectively in the post-apartheid South African context; and • How these functions feed into the broader issues of making a contribution in a demographically complex, post-apartheid South Africa.

This thesis tests the theories of Porosity which are part of my ongoing investigation into the revision and extension of public space in the city. Porosity Research seeks to classify spaces which exist deep within the skin or fabric of privately owned city buildings. The primary vehicle for this interrogation is the use of public art in the form of a set of games called Porosity Games ??? Snakes and Ladders, Hide and Seek and Jenga. These games are played out or performed within the territory of my Australian Research Foundation Discovery Grant outcomes. Their aim is to prove the validity of the research and to provoke interrogation of that research. The marginality of public art makes it ideally suited to the task of commenting on or contradicting the main body of the text of public space in the city. This contradiction is central to the work of this thesis. One of the vital needs or reasons for this work lies in finding ways of preventing cities from being shut down as a result of rampant capitalism in the ???Age of Terror???. Porosity as a strategy attacks this trend. It seeks the dissolution of architecture through a type of mapping which dissolves existing boundaries associated with rights of access. Capitalism needs to be continually measured by mapping or defining what is public against what is private. It can be argued that the social construction of a city is as important as its physical manifestation as buildings. It can also then be argued that a city which allows public space to penetrate its private space enables a healthier social construction. Fundamental to this thesis is the idea that the survival of the Western city depends on an increased density of public space and multiple ground planes as opposed to one. This creates three dimensional public access and alleviates congestion at the level of the street both for cars and for pedestrians. The Porosity Games are a first step in the transformation of the city through their successful reinvention of internal circulation spaces as game space. Game 1: Snakes and Ladders and Game 2: Hide and Seek both operate without interruption by the propriety of the buildings. Game 3: Jenga then intentionally heightened the risk of capture and eviction of the players for transgression within the climate of fear. Both the framework of surveillance and the intention to claim private space for public use, make the performances and the Porosity Research a useful progression in the project of transformation and the city as a plastic medium for the artist to interrogate.

This dissertation is a theoretical and historical account of urban sculpture in the U.S. following World War II. The title refers to an example set by corporations during the 1940s and 1950s for commissioning modernist office towers and abstract sculpture that fundamentally shaped the early history of a modern public art in the U.S. This corporate model was taken up by American cities during the 1960s in the construction of new civic centers that combined large-scale, abstract sculpture with glass and steel city office buildings. Federal funding further encouraged new sculpture commissions, which proliferated across the U.S. Emerging theories about visual communication impacted both urban planning and the corporate image during this period, as urban renewal reshaped cities for maximum legibility and corporations commissioned designers to create new trademarks. I argue that these twin aims conditioned the planning, production, and distribution of urban sculpture, whose status oscillated between the landmark within urban planning and the trademark of corporate America, between a concrete city element and an abstract symbol. I tell the history of post-war urban sculpture through three case studies. In the first case study, I examine three significant sculpture commissions for urban building lobbies realized by the architects Skidmore, Owings & Merrill during the 1950s: Harry Bertoia’s screen (1954) at the Manufacturers Trust Company Bank on New York’s Fifth Avenue; Richard Lippold’s Radiant “I” (1958) at the Inland Steel Company Headquarters Building in Chicago; and Alexander Calder’s mobile (1959) for the Chase Manhattan Bank branch at 410 Park Avenue. In the second case study, I trace the parallel trajectories of urban renewal in downtown Grand Rapids, Michigan and Alexander Calder’s fountains and stabiles made for World’s Fairs and international expositions, which intersected in La Grande Vitesse (1969), the National Endowment for the Arts’ first sculpture commission for its Art in Public Places program. In the third case study, I look at three sculptures produced by the fabricator Lippincott Inc., either as a series or in multiple editions, during its first five years of operation: Tony Rosenthal’s cubes (1967-68), Barnett Newman’s Broken Obelisk (1963-67), and Claes Oldenburg’s Geometric Mouse (1969-71). / text