The objective of this creative project is to create a new type of shopping environment that will constitute not only a shopping facility but a scenic attraction for the city as well. The Shopping Garden provides an image for the city in which it is located; it becomes a meeting place or center for various activities that improve the physical and social environment.One of the most important ideas is to add more natural elements, such as natural lighting, ventilation, and natural views into the shopping environment. The concept of "garden" takes the traditional Chinese garden as a reference point, with its philosophy of the relation between man and nature. The idea of divided green spaces and courtyards can be seen in the roof and terraces of the Shopping Garden.Functionally and conceptually, this project suggests how an urban type shopping center can compliment or enrich its urban context and how it could be developed. / Department of Architecture

Thesis (M. Arch. St.)--University of Adelaide, Dept. of Architecture, 1993? / 11 leaves of transparencies. Includes bibliographical references.

Thesis (M.R.P.)--University of Massachusetts Amherst, 2008. / Includes bibliographical references (p. 212-240).

Thesis (M.Arch.) - Carleton University, 2007. / Includes bibliographical references (p. 119-128). Also available in electronic format on the Internet.

Thesis (Ph. D.)--University of California, San Diego, 2007. / Also available as an electronic resource. Includes bibliographical references (p. 159-168).

Thesis (Ph. D.)--University of California, San Diego, 2007. / Title from first page of PDF file (viewed June 8, 2007). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references (p. 159-168).

Muito se tem estudado a respeito dos aspectos econômicos e mercadológicos dos Shopping Centers, focando-se essencialmente na relação destes empreendimentos com os consumidores finais. Este trabalho pretendeu abordar esta questão sob a ótica do lojista que se instala em um shopping center. E não exatamente um lojista qualquer, mas o pequeno lojista, ou o lojista satélite, como são chamados estes comerciantes nos empreendimentos. Através da hipótese de que por menor que seja o empreendimento comercial, sempre existirão critérios objetivos de escolha de ponto, procurou-se aqui sistematizar esses critérios, através de uma abordagem teórica que pudesse dar sustentação conceitual ao processo de escolha. Dentre as conclusões do trabalho, verificou-se que apesar de nem sempre aparente, o lojista tem uma clara percepção das características do ponto, embora às vezes tenha que optar por aquele ponto onde sua restrição de orçamento assim o permita. / Many researchers have studied economic and merchandising issues regarding shopping centers, focusing essentially on the relationship between the entrepreneurs and the consumers. This work is intended to provide a different approach, focusing on the relationship from the shopper-owner viewpoint, with an emphasis on small businesses. Based upon the hypothesis that even in the smallest commercial business, everyone should develop some technical criteria to assist in choosing their sites, the author tried to organize these methods, using a theoretical approach in order to support the site study process. Among the conclusions, it was verified that even when the owner cannot use the concepts to choose a site in a shopping center (e.g., because of a restricted budget), he/she has a clear idea about the quality and characteristics of the site locations.

No description available.

No description available.

This thesis is a historical examination of the shopping space Gallerian in Stockholm, which opened in October of 1976. The text analyzes how Gallerian’s affective environment was staged. I show how the developers sought to use Gallerian to shape the space of the inner city to increasingly provide for movements through which spontaneous consumption arose as a natural affective response. By analyzing this ambition, I point to the relevance of studying this specific form of consumption space, an indoor street, as a space that differs from a department store or a shopping center outside of the city. The indoor street was motivated by historical actors precisely because it offered possibilities of affect-governance that a department store or a shopping center outside of the city could not. Furthermore, the text examines the affective culture created in the interior space of Gallerian. I show how escalators, vegetation embellishments and air- and temperature regulation became relevant in Gallerian’s ambition to create a certain affective pull into its space. This affective pull is similar to what Walter Benjamin examined in 19th Century Paris, but, as shown in the thesis, the affective pull of Gallerian was aiming to capture a broader crowd of flaneurs. Gallerian was marketed as an enabler of an inclusive and democratic flaneurship. Gallerian also worked on dissociating itself from consumption, by incorporating symbols and places into the shopping space which read as non-commercial, and by framing the space as a non-commercial experience in public discourse. I argue that Gallerian’s affective environment provided for a consumer subjectivity that was potential, by staging an indoor street that naturalized shopping as part of the walk-about through the city as well as providing an interior environment with a certain affective pull. Lastly, I analyze how Gallerian achieved symbolic meaning as a place in the city. It became a “thing- world”, in Adorno’s and Benjamin’s sense, in that it was filled with desire for commodities, but also through a voyeuristic experience of other people as a conjurer of fantasies. I also argue that Gallerian, as a lived place-based experience, became a place where historical consciousness could be conjured and a longing for a city of the past could be enacted in the space.