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Description
Despite public demand for climate change mitigation and natural open space conservancy, existing political and design efforts are only beginning to address the declining efficacy of the biotic carbon pool (C-pool) to sequester carbon. Advances in understanding of biogeochemical processes have provided methods for estimating carbon embodied in natural open spaces and enhancing carbon sequestration efficacy. In this study, the benefits of carbon embodied in dryland open spaces are determined by estimating carbon flux and analyzing ecological, social, and economic benefits provided by sequestered carbon. Understanding the ecological processes and derived benefits of carbon exchange in dryland open spaces will provide insight into enhancing carbon sequestration efficacy. Open space carbon is estimated by calculating the amount of carbon sequestration (estimated in Mg C / ha / y) in dryland open space C-pools. Carbon sequestration in dryland open spaces can be summarized in five open space typologies: hydric, mesic, aridic, biomass for energy agriculture, and traditional agriculture. Hydric (wetland) systems receive a significant amount of moisture; mesic (riparian) systems receive a moderate amount of moisture; and aridic (dry) systems receive low amounts of moisture. Biomass for energy production (perennial biomass) and traditional agriculture (annual / traditional biomass) can be more effective carbon sinks if managed appropriately. Impacts of design interventions to the carbon capacity of dryland open space systems are calculated by estimating carbon exchange in existing open space (base case) compared to projections of carbon sequestered in a modified system (prototype design). A demonstration project at the Lower San Pedro River Watershed highlights the potential for enhancing carbon sequestration. The site-scale demonstration project takes into account a number of limiting factors and opportunities including: availability of water and ability to manipulate its course, existing and potential vegetation, soil types and use of carbon additives, and land-use (particularly agriculture). Specific design challenges to overcome included: restoring perennial water to the Lower San Pedro River, reestablishing hydric and mesic systems, linking fragmented vegetation, and establishing agricultural systems that provide economic opportunities and act as carbon sinks. The prototype design showed enhancing carbon sequestration efficacy by 128-133% is possible with conservative design interventions.
ContributorsHuck, Erick (Author) / Cook, Edward (Thesis advisor) / Green, Douglas (Committee member) / Brooks, Kenneth (Committee member) / Montemayor, Gabriel (Committee member) / Arizona State University (Publisher)
Created2012
Description
Before the digital age, architectural representation in drawing resulted from two transformational processes: one happened with the author as they developed the drawing from an idea to material. The second happened with the viewer as they interpreted the drawing. In these processes, a particular medium, the frame, raises the status of ideas—the frame functions as an organizing principle that unifies the artist’s intentions and practice. Today digital drawing has mostly replaced annotated drawing, and in the exchange, the benefit of the frame is lost.This qualitative study utilizes a conceptual approach to observe the frame and propose a methodology to bring together the analog/physical frame and the digital/immersive frame. The study enters a dialog with the art theorist Rosalind Krauss who writes about the “Institution of the Frame,” and the art historian Svetlana Alpers who classifies two different modes of representing the world—the Albertian and the Keplerian. Following Krauss’ statement, the study argues that a frame is an act of excision. Inspired by Alpers’ classification, the study focuses on creating two modes of frames, the Alberti and the Brunelleschi. The Alberti mode considers the frame a veil—a two-dimensional surface. Brunelleschi mode observes the frame as a fold—a three-dimensional surface.
The study utilizes several analytical methods: descriptive writing, graphic diagramming, and the production of drawings that unite the analog and digital as physical spaces and cinematic screens. These methods develop from the work of Luke Winslow in Frame Analysis, which provides a three-step “meaning-making process” to dissect multiple materials as an interdisciplinary framework. The study examines eight cases studies to identify systematic and generalizable principles, distinguish the relationship between analog and digital frames, and illuminate a strategy to build a delay in the process of thinking about architectural design in the digital age. The conclusion offers an approach for interfacing analog and digital frames in architecture while reflecting on the results, the significance of the interdisciplinary research study, and a position statement—the very essence of the research.
ContributorsRocchi, Elena (Author) / Davids Scott, Jason (Thesis advisor) / Hedberg Olenina, Ana (Committee member) / Bernstein, Max (Committee member) / Arizona State University (Publisher)
Created2022
Description
Students’ learning experience in studio are an essential part in studio-based learning mode and design education. Studio-based learning is defined as an active pedagogy in which the student learns multimodal by solving cases or problems. Students work with personal assignments or group assignments that are critiqued on the basis of formal and informal presentations. Studio-based Learning (SBL) is unlike other learning modes, not only because the pedagogy is different but also because of its distinctive learning spaces. SBL is carried out in the studio, a type of classroom within the university that supports this pedagogy. The studio is more like a combination of classroom and study room, students take courses in studio and are encouraged to finish their design project in the studio during their off-school hours.
Nowadays, the development of undergraduate design education and practice varies significantly among countries as a result of the varying curriculum and pedagogical evolution. For instance, Chinese education in interior design has only thirty years of development while the United States has over one hundred years of experience in the field. Even though both educational goals expect students to be able to manage developing design concepts and design projects, the differences between the two are numerous. This thesis studies a comparative analysis between the two systems and aims to identify students’ real needs and their perception of studio-based learning at Nankai University in China and Arizona State University in the United States as a means to recognize possibilities to improve students’ learning experience. The study includes students, their studio spaces, and their interior design undergraduate programs in both universities. The study utilizes qualitative methods including questionnaires, semi-structured interviews, and observations. The study also includes an analysis of both undergraduate interior design programs in these two universities as case studies. The findings are analyzed and translated into physical and pedagogical recommendations. The findings should be of value for students and faculty in interior design programs in both countries.
Nowadays, the development of undergraduate design education and practice varies significantly among countries as a result of the varying curriculum and pedagogical evolution. For instance, Chinese education in interior design has only thirty years of development while the United States has over one hundred years of experience in the field. Even though both educational goals expect students to be able to manage developing design concepts and design projects, the differences between the two are numerous. This thesis studies a comparative analysis between the two systems and aims to identify students’ real needs and their perception of studio-based learning at Nankai University in China and Arizona State University in the United States as a means to recognize possibilities to improve students’ learning experience. The study includes students, their studio spaces, and their interior design undergraduate programs in both universities. The study utilizes qualitative methods including questionnaires, semi-structured interviews, and observations. The study also includes an analysis of both undergraduate interior design programs in these two universities as case studies. The findings are analyzed and translated into physical and pedagogical recommendations. The findings should be of value for students and faculty in interior design programs in both countries.
ContributorsLiu, Chaofan (Author) / Zingoni, Milagros (Thesis advisor) / Fischman, Gustavo (Committee member) / Brunner, Lori (Committee member) / Arizona State University (Publisher)
Created2020