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.

While youth media production work has increased dramatically over the past two decades, researchers still lack an adequate theorization of how institutionally-mediated youth production programs instigate democratic acts. Central to this deficiency ares hortcomings in the two dominant frameworks typically used to conceptualize the democratic potential of young people's media work. In response to this, I turn to the work of Hannah Arendt and use her conceptualization of public action as framed in relation to a "pedagogy of natality" to assess the relationship between creative youth practice and democracy. While Arendt's framework offers a compelling vision of democratic action, her model is also invaluable for mapping how production work affects adolescents' democratic experience. It focuses the analytic lens on agonistic struggles that expand the way youth register and pay heed to plurality. I demonstrate this utility through a critical ethnographic study of the Summer Visions Film Institute, an initiative designed around a series of two-week digital video production programs for youth aged 14-19. In examining the Summer Visions program, I address the experience of student video producers but focus close attention on the work and experience of peer-to-peer youth mentors in the program for the following reasons. First, peer education has a role in many youth media programs but there continues to be a dearth of research on peer mentorship in media production settings. Second, while student participants take part in Summer Visions for ten days, the mentors are involved in production work on a daily basis over a seven-week period. Most are also former students of the program and so they offer a more robust set of case studies. Using Arendt, I demonstrate how media production programs contribute in contradictory but nonetheless important ways to the formation of new publics, not because such work leads to straightforward forms of position taking about specific political projects, but because it leads to forms of thoughtfulness that challenge the lure of oblivion that haunts our lives and prevents us from seeing those who are different and yet part of our worlds.

While youth media production work has increased dramatically over the past two decades, researchers still lack an adequate theorization of how institutionally-mediated youth production programs instigate democratic acts. Central to this deficiency ares hortcomings in the two dominant frameworks typically used to conceptualize the democratic potential of young people's media work. In response to this, I turn to the work of Hannah Arendt and use her conceptualization of public action as framed in relation to a "pedagogy of natality" to assess the relationship between creative youth practice and democracy. While Arendt's framework offers a compelling vision of democratic action, her model is also invaluable for mapping how production work affects adolescents' democratic experience. It focuses the analytic lens on agonistic struggles that expand the way youth register and pay heed to plurality. I demonstrate this utility through a critical ethnographic study of the Summer Visions Film Institute, an initiative designed around a series of two-week digital video production programs for youth aged 14-19. In examining the Summer Visions program, I address the experience of student video producers but focus close attention on the work and experience of peer-to-peer youth mentors in the program for the following reasons. First, peer education has a role in many youth media programs but there continues to be a dearth of research on peer mentorship in media production settings. Second, while student participants take part in Summer Visions for ten days, the mentors are involved in production work on a daily basis over a seven-week period. Most are also former students of the program and so they offer a more robust set of case studies. Using Arendt, I demonstrate how media production programs contribute in contradictory but nonetheless important ways to the formation of new publics, not because such work leads to straightforward forms of position taking about specific political projects, but because it leads to forms of thoughtfulness that challenge the lure of oblivion that haunts our lives and prevents us from seeing those who are different and yet part of our worlds.

While youth media production work has increased dramatically over the past two decades, researchers still lack an adequate theorization of how institutionally-mediated youth production programs instigate democratic acts. Central to this deficiency ares hortcomings in the two dominant frameworks typically used to conceptualize the democratic potential of young people's media work. In response to this, I turn to the work of Hannah Arendt and use her conceptualization of public action as framed in relation to a "pedagogy of natality" to assess the relationship between creative youth practice and democracy. While Arendt's framework offers a compelling vision of democratic action, her model is also invaluable for mapping how production work affects adolescents' democratic experience. It focuses the analytic lens on agonistic struggles that expand the way youth register and pay heed to plurality. I demonstrate this utility through a critical ethnographic study of the Summer Visions Film Institute, an initiative designed around a series of two-week digital video production programs for youth aged 14-19. In examining the Summer Visions program, I address the experience of student video producers but focus close attention on the work and experience of peer-to-peer youth mentors in the program for the following reasons. First, peer education has a role in many youth media programs but there continues to be a dearth of research on peer mentorship in media production settings. Second, while student participants take part in Summer Visions for ten days, the mentors are involved in production work on a daily basis over a seven-week period. Most are also former students of the program and so they offer a more robust set of case studies. Using Arendt, I demonstrate how media production programs contribute in contradictory but nonetheless important ways to the formation of new publics, not because such work leads to straightforward forms of position taking about specific political projects, but because it leads to forms of thoughtfulness that challenge the lure of oblivion that haunts our lives and prevents us from seeing those who are different and yet part of our worlds. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

Impervious surfaces are the greatest contributors to degradation of water quality and large volumes of stormwater runoff. Green infrastructure is the holistic solution to this problem which not only reduces flooding but also actively moves towards achievement of larger environmental goals. Green infrastructure has the co-benefits of reducing the heat island effect, traffic calming, beautifying the neighbourhood, improving the canopy within the city, the creation of parks and even supports economic development. The City of Falls Church is deeply concerned with the pressing matter of flood control due to the threats to human life and property in recent flooding events. The polluted waters of Falls Church also contribute to a highly impaired watershed- the Chesapeake Bay. This thesis recognizes the environmental crisis caused by polluted runoff and places equal emphasis upon reducing runoff as well as improving water quality. In order to mitigate the effects of inundation, it is most critical to intervene at the source of locations which create the most runoff and pollution. The thesis provides a systematic methodology of identifying such areas and intervening in them. The watershed which contains the downtown area of Falls Church has the greatest amount of impervious surfaces and the highest rate of stormwater runoff. The two intersecting streets of S. Maple Avenue and Annandale Road are identified as the location of intervention after tabulating a confluence of stormwater and public realm factors. S. Maple Avenue is a part of the Falls Church bike network and is also designated to become a civic great street. Meanwhile, Annandale Road has the potential to play an active role in collection and management of stormwater. Annandale Road runs along the watershed boundary as well as crosses several tributaries which are low points in the watershed. Furthermore, there is a dynamic urban character to the street as it transitions from a residential zone to the commercial zone. Both streets present excellent possibilities for road diets, pedestrianization and traffic calming which bolsters the implementation of stormwater management in the public realm. / Master of Science / Impervious surfaces are the greatest contributors to degradation of water quality and large volumes of stormwater runoff. Green infrastructure is the holistic solution to this problem which not only reduces flooding but also actively moves towards achievement of larger environmental goals. There is a growing recognition that gray stormwater infrastructure has no benefits other than the conveyance of water away from the site. Green infrastructure has the co-benefits of reducing the heat island effect, traffic calming, beautifying the neighbourhood, improving the canopy within the city, the creation of parks and even supports economic development. There are many cities today which have had positive results by implementing a green approach towards the management of runoff. The City of Falls Church is deeply concerned with the pressing matter of flood control due to the threats to human life and property in recent flooding events. This thesis recognizes the environmental crisis caused by polluted runoff and places equal emphasis upon reducing runoff as well as improving water quality. In order to mitigate the effects of inundation, it is most critical to intervene at the source of locations which create the most runoff and pollution.The two intersecting streets of S. Maple Avenue and Annandale Road are identified as the location of intervention after tabulating a confluence of stormwater and public realm factors. Both streets present excellent possibilities for road diets, pedestrianization and traffic calming which bolsters the implementation of stormwater management in the public realm.

When one researches the city, the neighborhood appears as an indispensable building block. Kevin Lynch, In The Image of a City, suggests that neighborhoods are "the basic element of the city" and the main way "most people structure their city". Furthering the idea of the neighborhood as a building block of the city, Sidney Brower discusses the need for different types of neighborhoods to allow for a diverse social setting to create diversity in the city. The research put forward by Lynch and Brower shows the idea of the neighborhood as a strong concept in older cities. However, the concept of the neighborhood has become less apparent in the modern cities and should be revisited in order for the neighborhood to once again be a substantial entity in the city. In The Great Good Place, Ray Oldenburg discusses the idea of three realms of life and the balance needed to live a fulfilling life. The first realm centers on the domestic, the second on the productive, and most significantly, the third realm centers on the social aspect. In modern neighborhoods, the idea and the architecture that make the social realm has been lost and must be reintroduced. The significance of reintroducing the third realm is the creation of a strong socially defined neighborhood and one that becomes a more identifiable part of the city. With the concept of the third realm in mind, this thesis posits the introduction of a fully integral layer of social programming that responds to a specific neighborhood condition. This way of conceiving the neighborhood and building upon the existing Main Street, the third realm will serve to facilitate a greater sense of neighborhood place.

A shift in practice towards a process-orientated and collaborative art practice within the strands of art practice in the public realm raises the question, ’what is the practical contribution artists make to society?’ which can only be answered by first understanding how artists work. Introducing the concepts of ‘context’, ‘artist-led’ and ‘residency’ with reference to the Artists Placement Group, the problematics of assessing the social contribution of context-specific art practices are presented as resting upon two difficulties, the conceptual gulf between the artworld and the public realm and the assumption that artists can or should not articulate their intentions for an artwork. Combining questions raised from practice with the problems outlined by Suzanne Lacy, the need for research into the generative process of public artists is established. The purpose of the research is to investigate and develop artists’ understanding of the generative process by examining the interaction of artists in contexts in the public realm and to make that information explicit. An appropriate methodology and theoretical framework is found by critically reviewing recent related practice-based research projects in Art and Design with special attention to the work of Ian Hunter on immersion strategies in rural contexts. The model of the artistic process as problem-solving, developed by J. Getzels and M. Csikszentmihalyi , is also examined against current theories in scientific research into creativity and theories of social policy problem-setting of Donald Schon and the pattern of inquiry by John Dewey and subsequently extended. Data was generated by recording the decisions and reflections of three artists carrying out an actual artist-led context-specific project in the public realm (‘Taming Goliath’). Data gathered by using a specially adapted method (‘Sweatbox’) were analysed by using the Generative Process Model. The results produced narratives which describe each artist’s experience and information on the methods artists use to interact with a context in the public realm, their intentions. The significance of the findings and the experience are discussed in relation to the work of Suzanne Lacy and Allan Kaprow with recommendations for further research. In conclusion, four areas contributing to knowledge are proposed: the extension of the Generative Process Model, the development of an methodology of analysis, the usage of the Sweatbox method and contributions to the body of knowledge of artists’ processes in the public realm.

本論文乃在瞭解王弼《老子注》中，依著境界心靈而展開的自然意義之形上學，是否可以涵攝具有系統性、歷史性的客觀名教社會之存在，尤其從實踐的觀點探討王弼形上學可否開出一道家式的社會存有論，由自然境界實踐地證立客觀實有之存立，並將探討如此的哲學思考型態與漢末至曹魏正始年間士人心態上彼此存在的關聯。全文分六章： 首章為緒論，略述問題之緣起及「世界」、「境界」、「名教」、「自然」之意涵。 第二章探討玄學發展的社會心理背景，尤其在展示士人自漢末以來對名教社會的心態，以做為瞭解王弼玄學之準備。 第三章則分析老子「道」的性格，王弼學既依道家老子思想而立，故對老子「道」之瞭解乃一基本的工作，以做為判定王氏理論向度之基礎。 第四章則在說明王弼如何完成其「名教因於自然」之理論架構，以做為對王氏學批判之準備。 第五章則對以老子思想為骨幹的王弼理論提出兩點商榷，從其形上學及人性論中所含的局限性而指出其理論之困局，「名教因於自然」並不可能成立。 第六章結論，對王弼理論的格局再加以批判說明，並回應第二章，點出玄學家之哲學思考與其對世界之心態之間存在的一致性。

Conventional street design has given drivers priority over the street. This has resulted in overall declination of the public realm. This study explored the topic of shared space, defined as an approach in which the street is designed in a way that pedestrians, drivers and other street users have equal entitlement and priority throughout the entire space. The research draws upon the literature on shared space; and case studies comprised of secondary source descriptions, key-informant interviews and on-site observation. Ensuing findings suggested that vehicles were more willing to share the streetscape with pedestrians when vehicular speeds were reduced and there was integration between sidewalk and roadway. These findings led to development of a set of principles that informed recommendations for the conceptual redesign of Toronto’s Downtown Yonge Street as a shared space.

AN ABSTRACT OF THE THESIS OF UMIT KARTAL, for the Master of Arts degree in PHILOSOPHY, presented on September 29, 2011, at Southern Illinois University Carbondale. TITLE: PUBLIC SPACE MUST BE DEFENDED. HANNAH ARENDT'S CONCEPTION OF POLITICS AND THE PUBLIC SPACE: ITS PROMISES AND LIMITS MAJOR PROFESSOR: Dr. Kenneth Stikkers This thesis is an examination of Hannah Arendt's reconsideration of the meaning of politics and her systematic search for the recovery of the public spaces. Her scrutiny of the meaning of politics is determined by the disastrous outcomes of totalitarian experiences from both ends of the political spectrum, namely, Nazism and Stalinism. For Arendt, the phenomenon of totalitarianism deserted the human world and brought new issues forth, such as statelessness, rightlessness, homelessness, and worldlessness. These phenomena, Arendt holds, run parallel to the collapse of the essential articulations of the human condition, which can be distinguished in sheer thoughtlessness, speechlessness, and lack of judgment. It is due to these unprecedented and unanticipated issues, which cannot be addressed by traditional political categories, Arendt invites us to grapple with the meaning of politics anew. The basic definition of politics, for Arendt, is human plurality, namely, our coexistence in a common world which enables differences and diversities of perspectives to appear. The question what politics means, for Arendt, is inextricably tied to what its distinctive locus is, namely, the public space or space of appearances. The emergence of the social resulted in blurring the distinctive line between the public realm and the private realm. Then, the recovery of the public space is of a central place in Arendt's political theory. Through Arendt's reconsideration of the meaning of politics and the recovery of the public space we are provided a comprehensive framework to think about a more inclusive and democratic politics. Nevertheless, we are challenged by a set of problems: a very sharp distinction between the public realm and the private realm, a contrast between the social and political, and a lack of systematic interest in democracy. First, I concentrate on Arendt's insightful analysis of politics and the public space in turn. Then I focus on the problematic aspects of her political theory. Finally, I argue that these problematic aspects can be complemented by a comparative reading of Arendt with John Dewey. I conclude that Dewey offers us a more dynamic criterion to decide the line between the private realm and the public realm. Instead of opposing the social to political, Dewey extends the scope of politics by taking every aspects of social life into consideration. The recovery of the public, for him, depends essentially on democracy, which is identified to the experience of local community.