Integrating Architecture for a Live-Work Lifestyle

Urban centers all around the world are striving to re-orient themselves to promoting ideals of human engagement, flexibility, openness and synergy, that thoughtful architecture can provide. From a time when solitude in one’s own backyard was desirable, today’s outlook seeks more, to cater to the needs of diverse individuals and that of collaborators. This thesis is an investigation of the role of architecture in realizing how these ideals might be achieved, using Mixed Use Developments as the platform of space to test these designs ideas on. The author also investigates, identifies, and re-imagines how the idea of live-work excites and attracts users and occupants towards investing themselves in Mixed Used Developments (MUD’s), in urban cities. On the premise that MUDs historically began with an intention of urban revitalization, lying in the core of this spatial model, is the opportunity to investigate what makes mixing of uses an asset, especially in the eyes to today’s generation. Within the framework of reference to the current generation, i.e. the millennial population and alike, who have a lifestyle core that is urban-centric, the excitement for this topic is in the vision of MUD’s that will spatially cater to a variety in lifestyles, demographics, and functions, enabling its users to experience a vibrant 24/7 destination. Where cities are always in flux, the thesis will look to investigate the idea of opportunistic space, in a new MUD, that can also be perceived as an adaptive reuse of itself. The sustainability factor lies in the foresight of the transformative and responsive character of the different uses in the MUD at large, which provides the possibility to cater to a changing demand of building use over time. Delving into the architectural response, the thesis in the process explores, conflicts, tensions, and excitements, and the nature of relationships between different spatial layers of permanence vs. transformative, public vs. private, commercial vs. residential, in such an MUD. At a larger scale, investigations elude into the formal meaning and implications of the proposed type of MUD’s and the larger landscapes in which they are situated, with attempts to blur the fine line between architecture and urbanism. A unique character of MUD’s is the power it has to draw in people at the ground level and lead them into exciting spatial experiences. While the thesis stemmed from a purely objective and theoretical standpoint, the author believes that it is only when context is played into the design thinking process, that true architecture may start to flourish. The unique The significance of this thesis lies on the premise that the author believes that this re-imagined MUD has immense opportunity to amplify human engagement with designed space, and in the belief that it will better enable fostering sustainable communities and in the process, enhance people’s lives.

Screening Diversity: Women & Work in Twenty-First-Century Popular Culture

Screening Diversity: Women and Work in Twenty-first Century Popular Culture explores contemporary representations of diverse professional women on screen. Audiences are offered successful women with limited concerns for feminism, anti-racism, or economic justice. I introduce the term viewsers to describe a group of movie and television viewers in the context of the online review platform Internet Movie Database (IMDb) and the social media platforms Twitter and Facebook. Screening Diversity follows their engagement in a representative sample of professional women on film and television produced between 2007 and 2015. The sample includes the television shows, Scandal, Homeland, VEEP, Parks and Recreation, and The Good Wife, as well as the movies, Zero Dark Thirty, The Proposal, The Heat, The Other Woman, I Don’t Know How She Does It, and Temptation. Viewsers appreciated female characters like Olivia (Scandal), and Maya (Zero Dark Thiry) who treated their work as a quasi-religious moral imperative. Producers and viewsers shared the belief that unlimited time commitment and personal identification were vital components of professionalism. However, powerful women, like The Proposal’s Margaret and VEEP’s Selina, were often called bitches. Some viewsers embraced bitch-positive politics in recognition of the struggles of women in power. Women’s disproportionate responsibility for reproductive labor, often compromises their ability to live up to moral standards of work. Unlike producers, viewsers celebrated and valued that labor. However, texts that included serious consideration of women as workers were frequently labelled chick flicks or soap operas. The label suggested that women’s labor issues were not important enough that they could be a topic of quality television or prestigious film, which bolstered the idea that workplace equality for women is not a problem in which the general public is implicated. Emerging discussions of racial injustice on television offered hope that these formations are beginning to shift.