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This article will explore anamorphosis in David Lynch's Mulholland Drive (2001). Appearing almost simultaneously with perspective as a mode of organizing sight in visual art and architecture mainly, anamorphosis was a type of perspective, popular in the sixteenth and seventeenth centuries, in which an image that was severely distorted could become suddenly "legible" if looked at from the correct angle. Among the ways that anamorphosis is evident in Mulholland Drive is its two-part design, which forces viewers to detect a hidden perspective in the first part of the film. Anamorphosis is visible also in the distortive imagery and changes in optical registers, such as the stylized jitterbug scene at the start of the film. Anamorphosis, finally, is noticeable in the form of an anamorphic figure like the Cowboy who casts a haunting pall over the action and who seems to exist both in the world of the film and outside, entering mysteriously or obliquely, at an angle as it were, with no clear, determinable place of origin. An analysis of anamorphosis in Mulholland Drive leads me to argue that an anamorphic drive is central to Lynch's work more generally and that Lynch belongs to a very long tradition in the visual arts dating back to the fifteenth century. [ABSTRACT FROM AUTHOR]

City image and self identity are two interrelated notions. Self identity, also referred to as urban related identity, is not solely derived from the physical characteristics of an urban space, but, consists of the social construction founded in the perception of individuals and groups (Lalli & Ploger, 1991). The relationship of the individual with a place is essential as place and space shape human experiences (Chen, 2012). With the trend of gated residential areas emerging in large cities such as Cairo and Alexandria in the late 90s creating a spatial discontinuity and urban fragmentation, this research is examining how open and gated urban residential areas shape place image of New Cairo’s Third Settlement residents.

In this essay, the author pays homage to the big masters of landscape architecture, so underlining how important in design is the influence of former ideas. He makes a brief look that touches about thirty figuress and for each one he proposes one idea, the one he regards as more original and innovative, the one that has more influence on landscape planning, therefore the one that changes that figure in a master. He ends off with some recent projects as an example of how these important planning ideas it’s been hand on and of the actual state of art.

This paper presents the application of the theory on innovation through strategic planning, different from traditional zoning, a way to take participation into account, for a neighbourhood from the begin of the 20th century in the north of Bucharest. For the analysis the innovation relied on the application of the perception of the image of the city according to Lynch´s method. The formulated mission is in accordance with the status of protected zone of the area around the Dorobanţi place. The theory, critically seen through the systemic theory of Sandu (1988), comes from the „Final report on the ecological city“ from the OECD Habitat II conference.

David Lynch's Blue Velvet (1986) raises significant questions concerning small town social relations in the United States, the corrupting powers of industrial urbanism and the notion of propinquity. It is a vivid rejoinder to the idealization of the small town and to comfortable notions of community in general. Through a close reading of the spatial strategies employed in Blue Velvet, this article maps Lynch's conception of the neighbour and the neighbourhood. The analysis encompasses the political rhetoric of Ronald Reagan and Sarah Palin, the planning ideas of New Urbanism and critiques of the neighbour articulated by Freud and Žižek, as well as placing Blue Velvet in the context of Lynch's other work. [ABSTRACT FROM AUTHOR]