ASU Scholarship Showcase

This study investigates the impact of urban form and landscaping type on the mid-afternoon microclimate in semi-arid Phoenix, Arizona. The goal is to find effective urban form and design strategies to ameliorate temperatures during the summer months. We simulated near-ground air temperatures for typical residential neighborhoods in Phoenix using the three-dimensional microclimate model ENVI-met. The model was validated using weather observations from the North Desert Village (NDV) landscape experiment, located on the Arizona State University's Polytechnic campus. The NDV is an ideal site to determine the model's input parameters, since it is a controlled environment recreating three prevailing residential landscape types in the Phoenix metropolitan area (mesic, oasis, and xeric). After validation, we designed five neighborhoods with different urban forms that represent a realistic cross-section of typical residential neighborhoods in Phoenix. The scenarios follow the Local Climate Zone (LCZ) classification scheme after Stewart and Oke. We then combined the neighborhoods with three landscape designs and, using ENVI-met, simulated microclimate conditions for these neighborhoods for a typical summer day. Results were analyzed in terms of mid-afternoon air temperature distribution and variation, ventilation, surface temperatures, and shading. Findings show that advection is important for the distribution of within-design temperatures and that spatial differences in cooling are strongly related to solar radiation and local shading patterns. In mid-afternoon, dense urban forms can create local cool islands. Our approach suggests that the LCZ concept is useful for planning and design purposes.

This chapter is not a guide to embodied thinking, but rather a critical call to action. It highlights the deep history of embodied practice within the fields of dance and somatics, and outlines the value of embodied thinking within human-computer interaction (HCI) design and, more specifically, wearable technology (WT) design. What this chapter does not do is provide a guide or framework for embodied practice. As a practitioner and scholar grounded in the fields of dance and somatics, I argue that a guide to embodiment cannot be written in a book. To fully understand embodied thinking, one must act, move, and do. Terms such as embodiment and embodied thinking are often discussed and analyzed in writing; but if the purpose is to learn how to engage in embodied thinking, then the answers will not come from a text. The answers come from movement-based exploration, active trial-and-error, and improvisation practices crafted to cultivate physical attunement to one's own body. To this end, my "call to action" is for the reader to move beyond a text-based understanding of embodiment to active engagement in embodied methodologies. Only then, I argue, can one understand how to apply embodied thinking to a design process.

As speculative aesthetics, what might feminist ontologies and artist imaginings do for rethinking the "real" assemblages and infrastructures of our quotidian experience, particularly with respect to those that standardize aggressive capital agendas, maximum industrial output and extreme waste? This paper draws connections between female artists' image and event-making, speculative design and tacit knowledge, as sensing tools for technological possibilities at a time when energy dependency, in the form of electricity, is the greatest generator of fossil fuel waste and pollution. I use Remedios Varo's paintings from the mid 1930-1960s as a springboard to think about sustainability and ecological design from an embodied, fem-magic and deep-time perspective, and I draw from other female artists whose work explores technologies and energy, such as Alice Aycock, Tania Candiani, Cassie Meador and Hito Steyerl. An analysis of these artists' works allows me to explore the ways that feminist imaginings function as an ontological orientation that shifts power away from contemporary infrastructures, to decolonize and re-feminize electrical possibilities as alternative ways of engaging with and sensing assemblages.