My goal was to successfully appropriate the collaborative ideals of the LAByrinth Theater Company and incorporate them into my directorial process while working on a collegiate production. I gathered a large amount of information from my visit and contact with the LAB and through personal interviews with the Co-Artistic Director and the Developmental Director. I had seen two of their shows and I was familiar with the quality of production that I had to uphold. I played a lead role in Guirgis' Jesus Hopped the 'A' Train and I was familiar with the rhythm, the dialect and the seriocomic matters of the plays. Den of Thieves is Guirgis' first published play. I chose this project for my thesis production because I wanted to work with younger actors on a play that is not produced often. Although the company was not part of the playwriting process, the actors, director, and crew would use the collaborative ideals of the LAByrinth Theater Company to form the production. I was interested in forming a group that was diverse in ethnical background and theatrical capabilities. I wanted to see if this play and the collaborative ideals would be successful with collegiate actors. I wanted to test the material on a collegiate audience. By doing this work I hoped to instill these ideals with members of the company so that they could be positive in their future theatrical communities. I also hoped to inspire interest from the audience in Guirgis' work as well as the LAByrinth Theater Company of New York.

One Script, Two Perspectives: Generation Me and The Staging of Really Really is a reflection on the approach, pre-production, rehearsal and post-production phases of the play, Really Really by Paul Downs Colaizzo, which debuted in the Shafer Street Playhouse on February 20, 2015 on the campus of Virginia Commonwealth University. The cast included Kaelie Ukrop, Adam Valentine, Ethan Malamud, Telos Fuller, Solomon Dixon, Molly Kaufman, and Katie Stoddard. This paper looks at the processes involved with the creation of that piece. Focus is given to the problems and challenges involved with casting, production, rehearsals, post-production and effective directing methods.

This thesis examines the dichotomy of Richmond’s suburban and urban environments within a market environment. In our quest to make our lives more convenient, we have moved outside of cities, increased commutes and cut ourselves off from one another. Ultimately we have lowered our standards of quality in food, products and services by allowing big retailers and chain restaurants to determine a new standard of living. The goal of this works is to create a food hall and market environment that will act as a catalyst to improve the quality of life of Richmonders as well as to draw residents from the suburbs back into the city and revitalize the run down urban areas. The market and food hall will showcase the best that Richmond has to offer. It will support local farmers and business, integrate and encourage community by connecting people, encourage a slower pace of life and act as a center of revenue for the neighborhood and city of Richmond.

Les images dans toute leur diversité, installées dans l'espace urbain composent notre objet d'étude. Ainsi, à partir de l'analyse d'un vaste corpus composé de photographies et de cartes, collectés durant un long période dans le centre-ville de Santiago, l'enjeu est de saisir l'objet image-contexte qui d'après une description cas-à-cas, nous permettra l'analyse de l'image en situation. Dont le but est l'observation du rôle des images dans la construction de l'espace urbain et en tant que composant fondamental de notre environnement quotidien. De ce fait, divers aspects apparaissent peu à peu le long du travail telles que ; la distribution des images en relation au rapport des forces des pouvoirs quelles représentent et dans l'ensemble révèlent les pratiques spatiales du groupe social, de voir comment l'image transforme l'espace et l'espace redéfinit l'image, la relation entre image et architecture, entre la dynamique des images et les dynamiques urbaines et l'irruption des nouvelles technologies dans l'espace urbain. En somme, tout au long de notre travail de recherche nous poursuivons la constitution progressive de l'image en situation en tant qu'objet de terrain et élément essentiel qui façonnera le paysage visuel des villes dans le XXIe siècle / Images, in all their diversity, present in the urban environment, form the subject of our study. Thus, with the starting point a vast cache of photographs and cards, collected over a long period in Santiago city-center, the issue involves comprehending the image/context as a whole, a task that, after a case-by-case examination, will allow us to analyze the image as an integral part of its location. The goal, therefore, is the observation of the role of images in the construction of the urban environment and as fundamental components of our everyday surroundings. In this way, various aspects come to the fore throughout the process: the distribution of images relative to the power of the forces they represent reveals, in the whole, the spatial activities of the social group; the way in which the image transforms the space and the space in turn redefines the image; the relationship between image and architecture; between the dynamics of the image and the urban dynamics; and, lastly, the impact of new technologies on the urban landscape. In summation, throughout our research we have followed the progressive existence of location-specific imagery as an object in its own right and an essential element that will shape the visual landscape of cities in the 21st century

My dissertation is mainly targeted to all street dance lectors and teachers but is also for another people who are concerned about street dance education. Dissertation is writting about a street style history and is focused on creation of my own methodology proposal for an education of this style. Kids are really enjoying a lessons of street dance and the kind and level of this emjoyment is done by their age and level of performance.

When simulating air flows in an urban environment, for e.g. pollutant dispersion investigations, today's main tool is advanced computational fluid dynamics simulations. These simulations take a lot of time and resources to perform, even for small geometries. In some situations, one would like to be able to run approximate simulations, possibly with large geometries, without such a significant investment. The model described in this thesis is a graph network model which have streets and intersections of an urban environment modeled as connections and nodes in a graph. The model uses a pressured pipe model, based on the Darcy-Weisbach equation, to simulate air flow in the network. Such a model requires only rough measurements of the urban geometry and an estimated Darcy's friction factor, to be able to solve the system. Furthermore, using the same rough geometrical parameters, together with shear velocity, the model solves atmospheric exchange rates of the streets. Intersections play a major role when investigating urban dispersion. The way this model deals with dispersion in any complex intersections, represented by single nodes, is by using wind direction variance together with a distribution parameter based on computational fluid dynamics intersection simulations made in Comsol Multiphysics - also present in this paper. Using the simple model described above, I have simulated urban air flows in a complex urban geometry of a part of Paris. This specific geometry has already been investigated by computational fluid dynamics simulations as well as wind tunnel experiments. By comparing the computational fluid dynamics simulation with my model, I have validated its accuracy. 40% and 45% of all streets reach a relative and absolute error below 25% respectively. Directions of the street velocities have been simulated with approximately 90% accuracy - with distinct error indications. Atmospheric exchange rates of the streets are within an order of magnitude accurate, however, showing a systematic error by overestimating the vast majority of the exchange rates. The model could become even better by covering error sources discussed in the discussion section. Excess theory for simulating each of the above-described flows is presented, which might change the results. For example, slightly altering the modeling of the atmospheric exchange rate might fix the overestimation offset we have seen. Potential error sources could be the varying building heights and the streets angle relative the overlaying wind direction. The pressured pipe simulated flows have shown tendencies to be bad at picking up the effects of high/low buildings following low/high buildings, as well as accurately capture the behavior of streets close to perpendicular to the wind direction. Main streets with plenty of exits have been modeled with intersections at each exit, which results in strong flow variation along a street that should have a flow close to constant. Solving main streets like this separately could improve this behavior drastically.

The conceptual foundation for my work lies in the idea of "interaction." I work towards exposing this idea in its more basic and routine form, as well as the broad scope of it. Ranging beyond the common associations made with human to human interaction, my work enters a number of realms including environmental, architectural, and intra-personal interactions, working amongst the subtleties of each. I seek to create an image of relate-able experience, thus I feel the medium of photography is necessitated, as it is rooted in the idea of documentary and realism, in effect, cataloguing images of or influenced by the outside world.

The French Quarter of New Orleans and its famous Bourbon Street receive millions of visitors each year and are the subjects of both scholarly study and the popular imagination. Bourbon Street’s history of striptease has largely been untouched by scholars. In the post-World War II period, nightclubs featuring striptease entertainment drew the attention of reform-minded city and police officials, who attempted to purge striptease from the city’s historic district in an effort to whitewash the city’s main tourist area and appeal to potential outside economic industrial opportunities. Through news articles, correspondence, tourism brochures, and published reports, this thesis explores how striptease endured on Bourbon Street despite various reform campaigns against it and shows that striptease was an integral part of the New Orleans tourist economy in the postwar period.

Since the 1970s, when neoliberal policies and changing consumer patterns began remaking cities, scholars have conducted research about gentrification. In New Orleans, these studies have helped explain the demographic and economic shifts in some neighborhoods. However, there has been limited focus on the built environment aspects of gentrification in New Orleans, specifically the interpretation of the external aesthetic shifts in streetscapes as part of the gentrification process. This thesis examines the relationship between these aesthetics, primarily graffiti and street art, and the gentrification process, as perceived by various stakeholders in two New Orleans neighborhoods: St. Roch and Bywater. Using empirical, qualitative evidence, this thesis argues that graffiti and street art signify a culture and aestheticization of gentrification. Research methods for this thesis include participant observation, semi-structured interviews and discourse analysis. Keywords: Gentrification, New Orleans, Bywater, St. Roch, graffiti, street art, neighborhood change, blight, disinvestment, revitalization, creative class, neoliberalism, race, authenticity

In the 21st century, this planet has experienced an explosion of social movements and protests. From the Arab Spring to the Occupy Movement, global protests had become such a prominent feature of the first decade of the new millennium that Time Magazine named the protester as its person of the year in 2011. This project examines the relationship between social theory and political practice in an attempt to gain further insight into contemporary social movements. In particular, it examines the theoretical assumptions underlying the Occupy Movement in the United States and compares these assumptions with 19th century individual and collective anarchist theories, as well as with contemporary theories that have taken the postmodern turn.