Rather than the explorations of interpersonal relationships favored by many young adult novelists, Cormier deals with the outside forces that test the individual and often maliciously oppose him. His themes are powerful and not often considered in young adult fiction:
Being a filmmaker, he points out that moving images in this day and age are particularly effective forms of communication as they have the capacity to make people want to engage. For him, filmmaking is a very useful process that taught him how to talk to people, how to listen to people, how to observe spaces critically and with an open mind, in order to understand the unique urban dynamics that make every space special and worthy of care.
Without that extra attention many things in our cities can simply be forgotten. With his contribution "Les Grands Ensembles" - a video still of a film depicting model replicas of two modernist high rise buildings in a barren nocturnal landscape in the suburbs of Paris - the French artist Pierre Huyghe attempts to fight such urban amnesia by representing a period that has remained marginalized and overlooked.
In order to bring forth latent stories and revelations of places and to contribute to the poetics of future city making through narratives that are often overlooked or excluded, Nick Dunn and Dan Dubowitz suggest in their article "Talk on the Wild Side: Moving Beyond Storytelling in Cities" collective walks through lost parts of cities.
In that way one important aspect of Narrative Urbanism can be understood as the effort to make the invisible visible and as a discourse concerning the 'common' of the community, as Lorenzo Lazzari emphasizes in his piece "Storytelling "No New York"", depicting narratives as complex operations, and the result of the union of several parts, that require the consideration of diverse aspects of cities.
How to observe the stories of the people and involve them into creative processes, is demonstrated by the American photographer Carolyn Drake in her photo-essay "Wild Pigeon", for which she traveled through the Xinjiang Uyghur Autonomous Region in China, around 3. And once non-experts are involved in creative processes and the shaping of cities, the urban dynamics can change, which leads - according to Kathleen Gmyrek - to participatory narratives, as she argues in her piece "Detroit's Nain Rouge", in which she explains how a myth around a red dwarf known as the Nain Rouge, that inspired a parade in the city of Detroit, offers a public forum for participants to grapple with the political and socioeconomic forces that are shaping the city's future, providing the opportunity to play an active role in framing the narrative of their city.
However, since architects are great storytellers too, as Inge Goudsmit from the Office for Metropolitan Architecture OMA reminds us in her contribution "A Story of a Masterplan in China", they will remain - together with everybody else involved in the creation of cities - obliged to make themselves understood better, using the power of "narratives" to help them to connect not only to experts and intellectuals in the field, but to everybody else too.
But as Cassim Shepard clarifies, such "expert" narratives should not merely be used to get communities to agree to new urban developments. What he believes is more important, is to try to bring narrative strategies into the way we understand the complexity of a site from the very beginning, and then throughout the project analyze and interpret and develop what the project is about.
For, as Benjamin van Loon points out in his article on the city of Chicago entitled "Second Thoughts in the Second City", only through honest storytelling can design make a difference, because if it weren't for storytelling, would cities exist at all?
Discover Eastern European Architecture and Urbanism. We consider "clients" to be crucial participants in the shaping and creating of urban spaces.
We intend to find out how to improve things, such as the collaboration between client and architect or urban designer, for a more satisfying outcome for everybody involved and above all for the users and inhabitants of cities.
For Alejandro Zaera-Polo architects today have not only lost the trust of clients, but also the trust of society to deliver anything culturally significant, because they have been fooling around with idiotic, self-involved ideas for too long and are now viewed with some level of distrust, as he claims in our interview entitled "Project Managers and the End of the Dominatrix Architect".
But he partly blames the clients too for this situation. On the one hand, clients were called in, especially during the s and before the financial crisis ofto do something weird and shocking that would "put the place on the map"; on the other, they increasingly started to hand projects over to project managers, who often took pride in belittling the architect to show the client that they have everybody under their boot, that they are saving money, or that they are tough with deadlines, which is, according to Zaera-Polo, often to the project's loss.
To what extent the public can be put down too, and even excluded from city creation processes, is demonstrated by Iulia Hurducas in her piece "The Fragmented Public as an Emergent Condition of "Weak Urbanism"", in which she describes how the client of every urbanism project appears as a ghostly presence, referring to processes in the city of Cluj, Romania.
Money is certainly a very important aspect when it comes to "Client-shaped Urbanism" as Tanzil Shafique emphasizes in his article "Who Is the Client in a "Slum"?
Towards a Deterritorialization of the Client-designer Dichotomy", revealing how architects are dependent on clients - and bound to clients - predominantly for financial reasons. However, he points out as well that the role of the client as the patron of 'great works of art and architecture' is implicit and 'an a priori' in architectural practice, and that urbanism has been shaped by clients for a long time.
Nevertheless, that things can get complicated leading easily to a tense dynamic between client and architect is dramatically displayed in Jon Kandel's photo series about the play "The Glass House" at the Clurman Theatre in New York City, that portrays the particular problematic relationship between Ludwig Mies van der Rohe and Edith Farnsworth, who became his client, acolyte, lover, collaborator, frustrated client, spurned lover, and bitter enemy all within a few years.
To avoid frustration the Belgian real estate developer Stefan Paeleman stresses that it is of the utmost importance that the client and the architect are on the same team, respecting each other, and working in the same direction to achieve a common goal, as he explains in our second interview called "Not All about Beauty".
How architects and urban designers might establish more trust and initiate more constructive partnerships with their clients is an issue discussed by Benjamin Zagami in his contribution "Negotiating the Design of Emerging Urban Futures with Developer-clients": According to Ruth Jones and Jennifer Davis the future users are ideally the clients of projects as they explain in their piece "Client-users and Public Architecture: A Look at the Approaches of French Architect Patrick Bouchain and the French Architectural Collective Exyzt", imagining a collaborative engagement of the public in the creation of architecture while making, and funding, architecture conceived as active sites for the collective construction of citizenship.
For whom this sounds too utopian Jeffrey Kruth suggests - since the client-architect relationship has shifted from one of patronage to a broader system of data-driven management practices - that architects re-shape their role into one of dexterity that can consistently be placed in a position of agency to help re-shape the environment in societally beneficial ways, as he points out in his text "Flat Lines: That could lead to new forms of analysis, representation and experimentation, in practice providing agency for designers and planners, that better shape the space in which architectural practice occurs.
The image is part of his contribution "Arkanum" on page For when it comes to urbanism, small things seem to matter, whether they are actions, small physical elements, information and communications technology, or small-scale interventions.EDUCATIONAL PSYCHOLOGY INTERACTIVE Readings in Educational Psychology.
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Essays & researches written by top quality writers. Robert Cormier – American novelist, short story writer, editor, and journalist. Rather than the explorations of interpersonal relationships favored by . A powerpoint lesson presentation on the beginning of Robert Comier's novel Heroes.
It has background and contextual information as well as writing tasks and activities. Cormier creates a rather nauseating atmosphere; Larry’s tenement is a place no one would want to be in. ‘The sound of a pistol cracks the air.’ The theme of innocence runs throughout the whole book, just like the world innocence was shattered by the war and Nicoles innocence was shattered by Larry, Frenchtown is now also shattered by a.