In this mixed-methods community-based participatory research project I examine the ways in which sense of place (or lack thereof) is developed for Native Americans living in the urban Boston area, and the implications this has for physical health and social well-being. Through in-depth interviews, ethnographic data, and community photo-voice, I argue that a triad of Place, Stress, and Identity configure and act upon the bodies of urban Natives in complex ways, creating a paradoxical sense of place in the city. Each analytical chapter examines particular interactions of this triad: place as a physical and socially-experienced phenomenon, the interactions of place and stress, the process of "place-making", and social stress surrounding “urban Native” identity. Developing a framework of “place/body multiple” (Eyles and Williams 2007, Scheper-Hughes and Lock 1987; see background chapter), these chapters build toward the argument that, in contrast to “sense of place” literature that focuses on reservations (see Background Chapter), urban “sense of place” operates within what I term a “landscape of distress.” Forming an urban “sense of place” is beneficial to overall well-being because it leads to support networks and creates a proxy for “home”, building on current literature on social support and anthropological literature on Indigenous place-making. However, it is also detrimental to health because it creates an identity that is inherently separate from tribe and traditional land, creating both social and physiological distress.

The purpose of this study was to discover the various meanings that the Pulaski Theatre held for the residents of Pulaski and the theatre's social importance to the town. The following research objectives directed this study: 1) to document the theatre's history from the time it was built in 1911 until the present day, 2) to uncover memories or feelings associated with the theatre, and 3) to determine if design features of the theatre building influenced those feelings/memories. In documenting the history of the theatre, design features of the original 1911 building were examined as well as changes over time. To determine if design features of the building influenced the feelings/memories that were associated with the structure it was important first to discover which architectural and design features people remembered, if any, and then to determine if these design features reflected a meaningful association, i.e. sense of place to participants. Also of interest was whether this association or sense of place would be similar or different for all. Participants were fifteen males and females aged 43 to 82 who had attended the theatre over time. All participants grew up in Pulaski and six had lived there their entire lives. Both African Americans and Caucasians participated. Subjects were asked to draw a picture of the theatre that expressed their experience of the space. After the drawing, they were asked to discuss the picture and its meaning to them. Clare Cooper Marcus and others used this environmental autobiography technique as a method to bring a person's experiences of a place to a conscious level. Tape-recorded interviews were conducted and transcribed by the researcher to discover memories of the theatre and the meaning of the theatre to the participants. Data were analyzed by coding to look for emerging themes or categories that relate to the research question. Of interest was whether or not the Pulaski Theatre represented a sense of place to residents and if that sense of place varied for different participants. Document research was conducted through old newspapers and artifacts in the Raymond Ratcliffe Museum (the historic museum in Pulaski), documents from scrapbooks, architectural plans, and the files of the Town of Pulaski. Themes that were identified from the research were (1) the structure was an integral part of the community, (2) the theatre was a reflection of the community's social norms and roles, such as segregation, and (3) the theatre interior contributed to the social atmosphere of the space. The theatre building, while transformed over time, retained a presence in the town and memories associated with it across time were significant in creating a sense of place in the community. The theatre was remembered as a setting that brought excitement and stimulation to children and adults for many years. Participants felt "at home" in the theatre, having favored sections of the theatre where they routinely sat. School children attending the weekly matinees in the summer and African Americans sitting in their special section of the balcony developed a special identity with that particular space within the theatre. Even after segregation, many African Americans continued to sit in the balcony where they had sat for many years and felt at home. The unique characteristics of these spaces were dependent on the people that frequented them rather than the architecture of the building. The sense of place was one of personal relationships and emotional attachments rather than of bricks and mortar. Memories of the theatre were stories of groups or individuals and their interactions in the space. The building represented these individuals and what they brought to this place and time. The Pulaski Theatre played a great role in interactions with friends and neighbors and was significant in reflecting a sense of place in this community. / Ph. D.

This dissertation examines the ways in which abandoned and sparsely populated spaces can begin to offer up their hidden, alternative histories through the process of ethnographic inquiry. My research explains how it is possible to engage with peripheral and often marginalized North American cultures through the anthropological study of affect, space and materiality. Here, I have endeavoured to construct a rich narrative of space, place and human geography that sees the ghost towns of the North American prairies and the isolated fishing communities of Grand Bruit, Newfoundland and Matinicus, Maine as dynamic texts that can be read as both alternative historical inscriptions and as anthropological phenomena that describe a unique aspect of unseen culture. Far from being empty spaces, these locations present deeply engaging deposits of local history and alternate world views. However, if left undocumented, I believe that these spaces will soon be erased from the dominant narratives of culture and historicity, swept away by the winds of resource depletion and rural-to-urban migration. In what follows, I present an opportunity for the reader to join me in unpacking and analysing these rarely understood and oft-neglected histories that are intrinsic to contemporary North American culture and identity. / Thesis / Doctor of Philosophy (PhD)

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My thesis is regarding the regeneration of identity and a sense of place on the unappealing nature of public open space, in terms of its urban context and architecture. A sense of place is related to the quality and character of making a place unique or special. It could be described as the established atmosphere or character of an individuals relationship with a place.  So a good sense of place becomes a place that people would like to be a part of and enhances a human's positive emotional attachment making people feel connected to a place. So creating a sense of place should be based on understanding the cultural identity, social activity, physical environment and heritage of a place. Shown on the left are two images captured from the movie "Lost in Translation"an American comedy-drama film directed and written by Sofia Coppola in 2003. The film revolves around an aging actor, Bob Harris, and a recent college graduate actress, Charlotte. These two Americans develop empathy after meeting by chance at their hotel bar in Tokyo. The movie explores themes of loneliness, insomnia, existential boredom and culture shock against the surroundings of a modern Japanese city. Both images from the movie show an unbalanced scale of the environment around the actor. These images reminded me of the first impression of disconnected or disappointed that I had of the atmosphere at the end of King Street in Alexandria, Virginia. The place was not comfortable to be in with its own character and the access to the water was hard to be sense visually. The first impression of this place still occupied my mind rather than any other attractive aspects within the area. This unpleasant experience arose from my own individual relationship with the place but later I figured out that it had already been seen as a public issue. These circumstances motivated me to think about how to regenerate a strong local sense of place in the area. The site of the project is an entire block from the Old Dominion Boat Club at the King Street Park to the Waterfront Park on Prince Street along the Potomac River in Old Town, Alexandria, Virginia. The main access to the site is at the end of King Street. King Street has been the dominant connection to the water and the main corridor, carrying most of the entertainments in Old Town. Currently though, it lacks designated routes to the water at the end of the street. This project, an urban park pavilion, is composed of four different programs: the roof park, plaza, community performance Theater and boat taxi terminal which will be treated as equal value by a juxtaposed arrangement and interconnected street grids. My thesis will narrates how to develop a sense of place through the interaction of quality of architecture, infrastructure, cultural identities, social activities and the environment. / Master of Architecture