ASU Scholarship Showcase

Shade plays an important role in designing pedestrian-friendly outdoor spaces in hot desert cities. This study investigates the impact of photovoltaic canopy shade and tree shade on thermal comfort through meteorological observations and field surveys at a pedestrian mall on Arizona State University's Tempe campus. During the course of 1 year, on selected clear calm days representative of each season, we conducted hourly meteorological transects from 7:00 a.m. to 6:00 p.m. and surveyed 1284 people about their thermal perception, comfort, and preferences. Shade lowered thermal sensation votes by approximately 1 point on a semantic differential 9-point scale, increasing thermal comfort in all seasons except winter. Shade type (tree or solar canopy) did not significantly impact perceived comfort, suggesting that artificial and natural shades are equally efficient in hot dry climates. Globe temperature explained 51 % of the variance in thermal sensation votes and was the only statistically significant meteorological predictor. Important non-meteorological factors included adaptation, thermal comfort vote, thermal preference, gender, season, and time of day. A regression of subjective thermal sensation on physiological equivalent temperature yielded a neutral temperature of 28.6 °C. The acceptable comfort range was 19.1 °C-38.1 °C with a preferred temperature of 20.8 °C. Respondents exposed to above neutral temperature felt more comfortable if they had been in air-conditioning 5 min prior to the survey, indicating a lagged response to outdoor conditions. Our study highlights the importance of active solar access management in hot urban areas to reduce thermal stress.

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.