Streetnotes
Parent: University Library
eScholarship stats: History by Item for September through December, 2024
| Item | Title | Total requests | 2024-12 | 2024-11 | 2024-10 | 2024-09 |
|---|---|---|---|---|---|---|
| 93b0x2b2 | An Alphabet of Disaster: 9/11 From A to Z | 233 | 47 | 31 | 38 | 117 |
| 8mc5p75v | When the Fugitives Decide to Stay | 169 | 40 | 37 | 58 | 34 |
| 3rw3811t | Outdoor Dining and the Transformation of Public Space in New York City | 165 | 38 | 43 | 46 | 38 |
| 76m8p91h | Bryant Park, New York: Strangers in Public Spaces | 139 | 49 | 33 | 39 | 18 |
| 3rz571f7 | When the Horizontal Goes Vertical or How Skateboarding Redefines the Urban Environment | 121 | 32 | 48 | 22 | 19 |
| 4dv2g2n9 | Fashioning African Cities: The Case of Johannesburg, Lagos and Douala | 118 | 26 | 30 | 37 | 25 |
| 4q48m4fr | Honolulu, Oceanic Urbanism | 111 | 29 | 19 | 31 | 32 |
| 25g073q2 | Strategies for Subverting the Tyranny of the Corporate Map: An Interview with Babak Fakhamzadeh | 109 | 22 | 23 | 35 | 29 |
| 26x7n3h7 | Mexico City Morphologies | 101 | 24 | 28 | 29 | 20 |
| 5bp6w6cp | Altman on Jacobs on Dior: Fashion Through Fractals and Archives | 100 | 23 | 24 | 34 | 19 |
| 6n41z9w9 | Cell-Out: A Long-Distance Mobile Performance of Scores, Reflections, Confessions | 99 | 19 | 22 | 37 | 21 |
| 9w38g223 | Playing Chess in Public: Recreational Traditions in a Time of Crisis | 98 | 22 | 32 | 21 | 23 |
| 3jm7r145 | Creating Spaces of Transborder Play: Indigenous Mexican Migrants in California and the Game of Pelota Mixteca | 96 | 27 | 22 | 27 | 20 |
| 1th2m58k | The Philadelphia School Closing Photo Collective: Photography as Documentation, Public Participation, and Community Resistance | 92 | 26 | 17 | 26 | 23 |
| 3c60k4bj | Streetstyle: an Interview with Susan B. Kaiser | 91 | 13 | 24 | 38 | 16 |
| 9qk007jk | Streetnotes 20 Front Matter | 87 | 25 | 18 | 24 | 20 |
| 9j31x5r0 | The Forest and the City: Rio as an Immersive Landscape | 85 | 25 | 23 | 19 | 18 |
| 5xp7m6kp | Utopian Verticality: the Skyscraper and the Superhero in the American Imagination | 84 | 20 | 15 | 28 | 21 |
| 3v62q7mv | Leerstand / The Quality of Emptiness | 83 | 15 | 19 | 21 | 28 |
| 8kk3p0ws | Manhattan’s "Dirty Urban Landscapes" | 83 | 26 | 16 | 21 | 20 |
| 7p30j74g | Argul Weave: Local Skills Meet Global Design Practices or Activating Turkey’s Hinterland Potential | 81 | 20 | 26 | 25 | 10 |
| 8cr7v2g0 | Demarcating Fences: Power, Settler-Militarism, and the Carving of Urban Futenma | 81 | 24 | 19 | 22 | 16 |
| 0051d5vf | Streetnotes 25 Cover | 80 | 22 | 13 | 28 | 17 |
| 79v2j4d1 | Urban Journeys of the Rhizomatic Line | 80 | 33 | 14 | 20 | 13 |
| 46c8x4bf | Streetnotes 20 Cover | 79 | 24 | 14 | 21 | 20 |
| 9fz590md | Cover for Issue 23 | 78 | 22 | 16 | 21 | 19 |
| 2d60n9js | There Are People Who Look Indecent in Clean Linen | 67 | 16 | 12 | 19 | 20 |
| 1qc2n79j | Public Space in the Making: A Rotterdam Experiment | 58 | 12 | 13 | 20 | 13 |
| 84v4p49j | Urban “Clutter”: Stairway Landings of Shanghai | 53 | 10 | 10 | 18 | 15 |
| 5mh630x7 | Capturing Memories in My Sketchbook | 52 | 17 | 7 | 21 | 7 |
| 7911262j | The Guerrilla Gallery: A Rapid Ethnography about a Collaborative Public Art Installation in East Harlem | 50 | 11 | 8 | 20 | 11 |
| 4v79b7fz | “Space shapes a person; constraints free the soul”: Watercolour sketches of Moscow panel-block apartments on the eve of demolition. | 49 | 13 | 6 | 18 | 12 |
| 72w0d49r | Religion and the Artification of Graffiti in the Olympic City : A Look at the Walls of Rio de Janeiro | 49 | 10 | 10 | 20 | 9 |
| 30h2c042 | Introduction: Sketchbook: Drawing the City | 48 | 14 | 8 | 17 | 9 |
| 1s58d6dz | The Flaneur Looks Up: Reading Chinatown Verticalities | 47 | 16 | 7 | 13 | 11 |
| 9t90f18j | Our Home(s) and/on Native Land: Spectacular Re-Visions and Refusals at Vancouver’s 2010 Winter Olympic Games | 45 | 13 | 8 | 15 | 9 |
| 3sq2n3vk | Street Life of Children in 20th Century New York | 44 | 12 | 10 | 11 | 11 |
| 8w52b0pk | Standing, Walking, Dancing Tall | 44 | 11 | 17 | 7 | 9 |
| 2gk5k117 | Tilted Upwards | 43 | 17 | 7 | 9 | 10 |
| 1qw0j1hn | Sonorities and Cities (in Times of Crisis) | 42 | 13 | 7 | 13 | 9 |
| 29b9v2qt | CODED GEOMETRY: A Digitally Expanded Game of Psychogeography | 42 | 9 | 9 | 17 | 7 |
| 9fd6h8h6 | Nailed It: Producing and Consuming in Tokyo's Nail Industry | 42 | 7 | 10 | 14 | 11 |
| 6877p6fs | Introduction: From Above: The Practice of Verticality | 40 | 9 | 14 | 11 | 6 |
| 339598d3 | Cultural Heritage and Spectacle: Painted and Digital Panoramic Re-Presentations of Versailles | 39 | 7 | 10 | 13 | 9 |
| 6410628x | On the Contemporary Visual Experience, Part Three: Oblique Strategies | 39 | 10 | 13 | 7 | 9 |
| 5nd8d78f | Mapping a City’s Energy: using digital storytelling to facilitate embodied experiences of urban | 38 | 2 | 7 | 7 | 22 |
| 6883f9d6 | Poetic Verticalities: Ice-Skating, Nightstands by the Curb, Hair A-Z, The Highline | 38 | 12 | 7 | 10 | 9 |
| 0fd2445g | Ways of Walking | 37 | 9 | 12 | 8 | 8 |
| 3tz0b8bk | cover 30 | 37 | 11 | 5 | 16 | 5 |
| 9ws0z8mf | Being-with-ears: How Christian Benning Opened my Ears to the Soundscapes of New York City and Beyond | 37 | 11 | 15 | 6 | 5 |
Note: Due to the evolving nature of web traffic, the data presented here should be considered approximate and subject to revision. Learn more.