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There are many micro-habitats in built up areas, often subject to
strong environmental pressures such as atmospheric and water
pollution, frequent disturbance, trampling, nutrient or water
scarcity, etc. In Urban Ecology Dianne Smith uses such features as
footpaths, walls, gravestones, gardens, compost heaps and derelict
land to investigate the effects of these pressures and to
demonstrate other ecological properties of oftern isolated
habitats. This book was first published in 1984.
There are many micro-habitats in built up areas, often subject to
strong environmental pressures such as atmospheric and water
pollution, frequent disturbance, trampling, nutrient or water
scarcity, etc. In Urban Ecology Dianne Smith uses such features as
footpaths, walls, gravestones, gardens, compost heaps and derelict
land to investigate the effects of these pressures and to
demonstrate other ecological properties of oftern isolated
habitats. This book was first published in 1984.
First Published in 2005. Routledge is an imprint of Taylor &
Francis, an informa company.
Bringing together an international range of contributors from the
fields of practice, theory and history, this book takes a fresh
look at occupation. It argues that occupation is a prospect that
begins with ruin--a residue from the past, an implied or even a
resounding presence of something previous that holds the potential
for transformation. This prospect invites us to repudiate,
re-imagine and re-define lived space, thereby asserting occupation
as an act of revolution. Authors drawn from the fields of
architecture, urbanism, interior architecture, dance dramaturgy,
art history, design and visual arts, cultural studies and media
studies provide a unique, holistic view of occupation, examining
topics such as: the authority of architecture; architecture as an
act of revolution; women in hypersexual space; occupation as a
serialized act of ruin; and the definition of space as repudiation.
They discuss how acts that re-invent territory and/or shift
boundaries--psychological, social and physical--affect identity and
demonstrate possession. This theme of occupation is significant and
topical at a time of radical flux, generated by the proliferation
of hypermedia, and also by the dramatically shifting environmental,
political and economic context of this era. The book concludes by
asserting that it is through occupation (private and public: real,
virtual, remembered, re-invented) that we appear or disappear as
the individual or collective self, because the spaces we construct
assert particular agendas which we may either contest or live in
accord with.
How can we engage communities? What is empowerment? To what extent
should the project process be participatory? How is an
outsider-insider relationship handled? How do researchers negotiate
with the hegemony of western cultural interpretations? How are
organizational and contextual influences handled in a project? What
leadership demands do such projects place on researchers? What is
capacity building? What are creative leaders and creative
communities? How does the researcher journey from their studio to
the situation? M² Models and Methodologies for Community
Engagement discusses key theoretical constructs — community
engagement, capacity building, and community empowerment — in
order to demonstrate how theory and practice are relevant to the
development of forms of community involvement. The book maps the
attributes of community based projects by moving beyond simply
bringing people together from a variety of disciplines, and taking
an approach which is transdisciplinary and applicable across
cultures and genres. Here, all people — including the community
— are ongoing contributors, and can freely move between their own
and others’ discipline-specific arenas. M² differs from and
extends on other works in this field of practice and research, in
that its transdisciplinary, collaborative approach positions the
community as a particular kind of discipline to create real change
in diverse locations and fields of experience. The book is in
itself a model of community engagement, as the researchers have
formed a community of research and practice for change, and have
developed a transformative model for community engagement that is
greater than the sum of its parts – hence M². M² offers a
valuable resource for students, researchers, academics,
practitioners, policy developers and volunteers from the fields of
architecture, interior architecture, health, planning,
anthropology, education, home economics, communication, political
studies and development studies.
This book argues that interior architects have a responsibility to
practice their profession in collaborative ways that address the
needs of communities and of to be the agents of social justice and
cultural heritage. The book is divided into three sections, based
on three pivotal themes - community engagement, social justice and
cultural heritage. Each section has chapters that put forward the
principles of these themes, leading into a variety of fascinating
case studies that illustrate how socially sustainable design is
implemented in diverse communities across the world. The second
section includes four concise case studies of community housing
issues, including remote-area indigenous housing and housing for
the homeless. The third section offers two extensively researched
essays on design and cultural heritage - a case study of the
development of a redundant industrial site and a historical study
of gendered domestic interiors. The book appeals to a wider
audience than the design community alone and challenges mainstream
interior design/interior architecture practitioners nationally and
internationally to take a leading role in the field of socially
responsible design. The issues raised by the authors are relevant
for individuals, communities, government and non-government
organisations, professionals and students. "In the twenty-first
century we seem to have entered into a new world of knowledge
discovery, where many of the most exciting insights come not from
the authority of a traditional discipline, but from the dialogue
that happens at the hubs and intersections of thought - the arenas
where different disciplines and approaches, different schools and
habits of thinking, come together to collaborate and contend. This
collection is a good example of this, and I hope the book will be
widely read and its lessons learned and applied." Tim Costello,
Officer of the Order of Australia, Chief Executive, World Vision
Australia.
This book argues that interior architects have a responsibility
to practice their profession in collaborative ways that address the
needs of communities and of to be the agents of social justice and
cultural heritage. The book is divided into three sections, based
on three pivotal themes - community engagement, social justice and
cultural heritage. Each section has chapters that put forward the
principles of these themes, leading into a variety of fascinating
case studies that illustrate how socially sustainable design is
implemented in diverse communities across the world. The second
section includes four concise case studies of community housing
issues, including remote-area indigenous housing and housing for
the homeless. The third section offers two extensively researched
essays on design and cultural heritage - a case study of the
development of a redundant industrial site and a historical study
of gendered domestic interiors.
The book appeals to a wider audience than the design community
alone and challenges mainstream interior design/interior
architecture practitioners nationally and internationally to take a
leading role in the field of socially responsible design. The
issues raised by the authors are relevant for individuals,
communities, government and non-government organisations,
professionals and students.
""In the twenty-first century we seem to have entered into a new
world of knowledge discovery, where many of the most exciting
insights come not from the authority of a traditional discipline,
but from the dialogue that happens at the hubs and intersections of
thought - the arenas where different disciplines and approaches,
different schools and habits of thinking, come together to
collaborate and contend. This collection is a good example of this,
and I hope the book will be widely read and its lessons learned and
applied.""Tim Costello, Officer of the Order of Australia, Chief
Executive, World Vision Australia.
How can we engage communities? What is empowerment? To what extent
should the project process be participatory? How is an
outsider-insider relationship handled? How do researchers negotiate
with the hegemony of western cultural interpretations? How are
organizational and contextual influences handled in a project? What
leadership demands do such projects place on researchers? What is
capacity building? What are creative leaders and creative
communities? How does the researcher journey from their studio to
the situation? M(2) Models and Methodologies for Community
Engagement discusses key theoretical constructs - community
engagement, capacity building, and community empowerment - in order
to demonstrate how theory and practice are relevant to the
development of forms of community involvement. The book maps the
attributes of community based projects by moving beyond simply
bringing people together from a variety of disciplines, and taking
an approach which is transdisciplinary and applicable across
cultures and genres. Here, all people - including the community -
are ongoing contributors, and can freely move between their own and
others' discipline-specific arenas. M(2) differs from and extends
on other works in this field of practice and research, in that its
transdisciplinary, collaborative approach positions the community
as a particular kind of discipline to create real change in diverse
locations and fields of experience. The book is in itself a model
of community engagement, as the researchers have formed a community
of research and practice for change, and have developed a
transformative model for community engagement that is greater than
the sum of its parts - hence M(2). M(2) offers a valuable resource
for students, researchers, academics, practitioners, policy
developers and volunteers from the fields of architecture, interior
architecture, health, planning, anthropology, education, home
economics, communication, political studies and development
studies.
Bringing together an international range of contributors from the
fields of practice, theory and history, this book takes a fresh
look at occupation. It argues that occupation is a prospect that
begins with ruin--a residue from the past, an implied or even a
resounding presence of something previous that holds the potential
for transformation. This prospect invites us to repudiate,
re-imagine and re-define lived space, thereby asserting occupation
as an act of revolution. Authors drawn from the fields of
architecture, urbanism, interior architecture, dance dramaturgy,
art history, design and visual arts, cultural studies and media
studies provide a unique, holistic view of occupation, examining
topics such as: the authority of architecture; architecture as an
act of revolution; women in hypersexual space; occupation as a
serialized act of ruin; and the definition of space as repudiation.
They discuss how acts that re-invent territory and/or shift
boundaries--psychological, social and physical--affect identity and
demonstrate possession. This theme of occupation is significant and
topical at a time of radical flux, generated by the proliferation
of hypermedia, and also by the dramatically shifting environmental,
political and economic context of this era. The book concludes by
asserting that it is through occupation (private and public: real,
virtual, remembered, re-invented) that we appear or disappear as
the individual or collective self, because the spaces we construct
assert particular agendas which we may either contest or live in
accord with.
Womanish Black Girls is a collection of essays written by varied
black women who fill spaces within the academy, public schools,
civic organizations, and religious institutions. These writings are
critically reflective and illuminate autobiographical
storied-lives. A major theme is the notion of womanish black
girls/women resisting the familial and communal expectations of
being seen, rather than heard. Consequently, these memories and
lived stories name contradictions between "being told what to do or
say" and "knowing and deciding for herself." Additional themes
include womanism and feminism, male patriarchy, violence, cultural
norms, positionality, spirituality, representation, survival, and
schooling. While the aforementioned can revive painful images and
feelings, the essays offer hope, joy, redemption, and the
re-imagining of new ways of being in individual and communal
spaces. An expectation is that middle school black girls, high
school black girls, college/university black girls, and community
black women view this work as seedlings for understanding
resistance, claiming voice, and healing.
Womanish Black Girls is a collection of essays written by varied
black women who fill spaces within the academy, public schools,
civic organizations, and religious institutions. These writings are
critically reflective and illuminate autobiographical
storied-lives. A major theme is the notion of womanish black
girls/women resisting the familial and communal expectations of
being seen, rather than heard. Consequently, these memories and
lived stories name contradictions between "being told what to do or
say" and "knowing and deciding for herself." Additional themes
include womanism and feminism, male patriarchy, violence, cultural
norms, positionality, spirituality, representation, survival, and
schooling. While the aforementioned can revive painful images and
feelings, the essays offer hope, joy, redemption, and the
re-imagining of new ways of being in individual and communal
spaces. An expectation is that middle school black girls, high
school black girls, college/university black girls, and community
black women view this work as seedlings for understanding
resistance, claiming voice, and healing.
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Our Boy Jack (Paperback)
Dianne Smith; Designed by Vivienne Ainslie; Illustrated by Carl Jackson
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R376
Discovery Miles 3 760
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Ships in 10 - 15 working days
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Hearne Fine Art in Little Rock, Arkansas, commemorates twenty years
of exhibiting and promoting African American art with the
publication of Collaborations. The book, featuring internationally
and nationally acclaimed artists, including eleven Arkansans, is
complete with vivid color reproductions of the artwork of
fifty-seven artists. It is organized by medium and
features work from artists who have exhibited in solo and group
exhibitions at Hearne Fine Art. Each image is accompanied by a
brief profile of the artist as well as a personal statement. It is
a vibrant testimonial to the longevity and commitment to excellence
that has come to be the trademark of this distinguished gallery.
The selection of artists illuminates the diversity of styles and
media and includes watercolor, pastel, sculpture, printmaking,
photography, mixed media, fiber art, oil, and acrylic on canvas.
Collaborations also includes a unique collection of titles from the
Limited Editions Club.
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Discovery Miles 3 300
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