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Place and memory are strongly intertwined based on the human experience. So what can a new place become in the mind of an individual who has garnered distressing perceptions of one’s current environment due to trauma? How can the environment support or facilitate periods of transition caused by a traumatic event? The aftermath of abuse that occurs in romantic relationships of late adolescence leads to a rocky crisis stage that often results in isolation, loss of identity, and social stigma. It is a period of transition in which recovery can be a long journey. This is where concepts of acceptance, mental alleviation, and appreciation of the present moment evoked by a nonjudgmental architecture can come into play. A space with the purpose of evoking a mental and emotional respite is of great need, especially when considering the current severity of today’s fast paced society. An architecture of this nature holds relevance and importance on campuses of higher education when considering the specific demographic. In order to reverse the perception of one’s surroundings as tarnished spaces and override the sensations to which distrust and exhaustion have claimed ownership, this center of healing should be integrated into an individual’s life as a facilitator of comfort. In short, it should provide the ability and opportunity to take a breath.
The Intermission is a healing space located at Arizona State University in Tempe, specifically where Forest Mall and Orange Mall meet. Abuse in intimate relationships is the most prevalent amongst college-aged individuals and those of late adolescence. This architecture exists specifically for the survivors of this particular traumatic experience, but welcomes all of the student body. It takes into consideration the general sensory overload placed on today’s youth who are existing in a specifically stressful and challenging developmental phase of life. The intention lies in eliciting a reprieve through the use of nature as an enclosure and an undulating platform as a labyrinth, which ultimately offers up a positive form of both a sensory and traversing experience. It offers the discovery of stimuli that users are able to easily adapt to and appreciate. It allows for and calls one to take part in deceleration. The goal is to bring the users to the awareness of themselves, their surroundings, and that of the present moment through spatial means. With this, the environment is able to support and facilitate a period of transition through the re-building of identity and memory. Ultimately, The Intermission is architecture as pause from a harsh and sometimes unforgiving life. It is an in-between moment for the in-between individual— an alternate, but necessary route (as well as pit stop) in the loop of daily life.
The habit loop underlies this whole process. First, someone has a craving--food, happiness, stress relief, anything. Next, they experience a cue in the environment--a sight, sound, smell, or piece of information that prompts them to act. Then they perform the routine, which is the most visible part of a habit. Finally, they are rewarded, whether the reward is good for them in the long run or not. We perform habits all the time without realizing it, so having even slightly more awareness and control of our habits can have a disproportionate benefit for our personal improvement.
In its earliest iterations, “habit trackers” were paper tools for measuring and motivating daily progress. Many competitors are still paper, like journals and calendars. Others are apps with the same functionality. In my competitive analysis, I chose to focus on competitors that included a behavioral change component along with habit tracking.
The robot building guide is targeted toward an audience with little or no knowledge of robotics. It begins by exploring existing musical robots and explaining how existing products can be used as a source for inspiration. Next, this guide outlines various methods of design thinking and encourages the reader to use design thinking throughout the brainstorming and building process. This guide also highlights options for designing 3D-printed parts, which can be added to a robot. After that, the guide explains options for robot movement, specifically chassis kit assembly and using a 1Sheeld board with Arduino. This guide also explores the possibilities for the interaction of lights and sound, including sound-reactive lights and remote-control lights. Practical information about materials and their organization is provided, as well. The guide concludes with exciting possibilities for robots in music education.