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- Creators: Arizona State University
Description
Since its launch by the US Green Building Council (USGBC), Leadership in Energy and Environmental Design (LEED) certification has been postured as the "gold standard" for environmentally conscious, sustainable building design, construction and operations. However, as a "living measurement", one which requires ongoing evaluation and reporting of attainment and compliance with LEED certification requirements, there is none. Once awarded, LEED certification does not have a required reporting component to effectively track continued adherence to LEED standards. In addition, there is no expiry tied to the certification; once obtained, a LEED certification rating is presumed to be a valid representation of project certification status. Therefore, LEED lacks a requirement to demonstrate environmental impact of construction materials and building systems over the entire life of the project. Consequently, LEED certification is merely a label rather than a true representation of ongoing adherence to program performance requirements over time. Without continued monitoring and reporting of building design and construction features, and in the absence of recertification requirements, LEED is, in reality, a gold star rather than a gold standard. This thesis examines the lack of required ongoing monitoring, reporting, or recertification requirements following the award by the USGBC of LEED certification; compares LEED with other international programs which do have ongoing reporting or recertification requirements; demonstrates the need and benefit of ongoing reporting or recertification requirements; and explores possible methods for implementation of mandatory reporting requirements within the program.
ContributorsCarpenter, Anne Therese (Author) / Olson, Larry (Thesis advisor) / Hild, Nicholas (Committee member) / Brown, Albert (Committee member) / Arizona State University (Publisher)
Created2013
Description
Scholars have written much about home and meaning, yet they have said little about the professionally furnished model home viewed as a cultural artifact. Nor is there literature addressing how the home building industry uses these spaces to promote images of family life to increase sales. This research notes that not only do the structure, design, and layout of the model home formulate cultural identity but also the furnishings and materials within. Together, the model home and carefully selected artifacts placed therein help to express specific chosen lifestyles as that the home builder determines. This thesis considers the model home as constructed as well as builder's publications, descriptions, and advertisements. The research recognizes the many facets of merchandising, consumerism, and commercialism influencing the design and architecture of the suburban home. Historians of visual and cultural studies often investigate these issues as separate components. By contrast, this thesis offers an integrated framework of inquiry, drawing upon such disciplines as cultural history, anthropology, and material culture. The research methodology employs two forms of content analysis - image and text. The study analyzes 36 model homes built in Phoenix, Arizona, during the period 1955-1956. The thesis explores how the builder sends a message, i.e. images, ideals, and aspirations, to the potential home buyer through the design and decoration of the model home. It then speculates how the home buyer responds to those messages. The symbiotic relationship between the sender and receiver, together, tells a story about the Phoenix lifestyle and the domestic ideals of the 1950s. Builders sent messages surrounding convenience, spaciousness, added luxury, and indoor-outdoor living to a growing and discriminating home buying market.
ContributorsGolab, Coreen R (Author) / Brandt, Beverly K. (Thesis advisor) / Bernardi, Jose (Committee member) / Schleif, Corine (Committee member) / Arizona State University (Publisher)
Created2013
Description
The process of this study involves conducting empirical tests on consumer's emotional responses toward tableware designs by statistic measurements (PrEmo), including both Chinese and American cultures. The objective to this study is to research the correlation between consumers' cognitive analysis of Chinese tableware designs and their emotional responses. The author proposes that the correlationship between consumers' cognition of Chinese tableware and emotional responses will lead to a new opportunity in the industrial design industry. Fifty-seven people responded to sixty-seven invitations to join the research project at Chinese restaurants in both China and America. Throughout the process of coding and organizing the survey data, a finding shows that there is a connection between consumer sensitivity toward the products and their emotional bonds to the assigned product designs. The data showed that more people in China are expending greater effort in choosing suitable tableware designs compared to the people in the U.S. Key words: Emotion, Cognition, Culture, Tableware design, Chinese restaurants
ContributorsLiu, Ran (Author) / Herring, Donald (Thesis advisor) / Wolf, Peter (Committee member) / Wang, Ning (Committee member) / Arizona State University (Publisher)
Created2013
Description
In response to the rapid rise of emerging markets, shorter product lifecycles, increasing global exchange and worldwide competition, companies are implementing `sustainable development' as a mechanism by which to maintain competitive global advantage. Sustainable product development approaches used in industry focus mainly on environmental issues, and to a certain extent on social and economic aspects. Unfortunately, companies have often ignored or are unsure of how to deal with the cultural dimensions of sustainable product development. Multi-nationals expanding their business across international boundaries are agents of cultural change and should be cognizant of the impact their products have on local markets. Companies need to develop a deeper understanding of local cultures in order to design and deliver products that are not only economically viable but also culturally appropriate. To demonstrate applicability of cultural appropriate design, this research undertakes a case study of food systems in India specifically focusing on the exchange of fresh fruits and vegetables (FFV). This study focuses on understanding the entire supply chain of FFV exchange, which includes consumer experiences, distribution practices and production processes. This study also compares different distribution channels and exchange practices and analyzes the pattern of authority between different players within the distribution network. The ethnographic methods for data collection included a photo-journal assignment, shop-along visits, semi-structured interviews, a participatory design activity and focus group studies. The study revealed that traditional retail formats like pushcart vendors, street retailers and city retail markets are generally preferred over modern retail stores. For consumers, shopping is a non-choreographed activity often resulting in exercising, socializing and accidental purchases. Informal communication, personal relationships and openness to bargaining were important aspects of the consumer-retailer relationship. This study presents cultural insights into interactions, artifacts and contexts relevant to FFV systems in India. It also presents key implications for the field of design, design research, cultural studies, consumer research and sustainability. The insights gained from this study will act as guidelines for designers, researchers and corporations interested in designing products and services that are culturally appropriate to contexts of production, distribution and consumption.
ContributorsDhadphale, Tejas (Author) / Giard, Jacques (Thesis advisor) / Boradkar, Prasad (Thesis advisor) / Broome, Benjamin (Committee member) / Arizona State University (Publisher)
Created2013
Description
Autonomous vehicle control systems utilize real-time kinematic Global Navigation Satellite Systems (GNSS) receivers to provide a position within two-centimeter of truth. GNSS receivers utilize the satellite signal time of arrival estimates to solve for position; and multipath corrupts the time of arrival estimates with a time-varying bias. Time of arrival estimates are based upon accurate direct sequence spread spectrum (DSSS) code and carrier phase tracking. Current multipath mitigating GNSS solutions include fixed radiation pattern antennas and windowed delay-lock loop code phase discriminators. A new multipath mitigating code tracking algorithm is introduced that utilizes a non-symmetric correlation kernel to reject multipath. Independent parameters provide a means to trade-off code tracking discriminant gain against multipath mitigation performance. The algorithm performance is characterized in terms of multipath phase error bias, phase error estimation variance, tracking range, tracking ambiguity and implementation complexity. The algorithm is suitable for modernized GNSS signals including Binary Phase Shift Keyed (BPSK) and a variety of Binary Offset Keyed (BOC) signals. The algorithm compensates for unbalanced code sequences to ensure a code tracking bias does not result from the use of asymmetric correlation kernels. The algorithm does not require explicit knowledge of the propagation channel model. Design recommendations for selecting the algorithm parameters to mitigate precorrelation filter distortion are also provided.
ContributorsMiller, Steven (Author) / Spanias, Andreas (Thesis advisor) / Tepedelenlioğlu, Cihan (Committee member) / Tsakalis, Konstantinos (Committee member) / Zhang, Junshan (Committee member) / Arizona State University (Publisher)
Created2013
Description
Many of the scholars that have chronicled the creation of the modern American kitchen have written about how the technological, societal, and cultural revolutions of the twentieth century played a role in dramatically changing its structure and design. More recently, some scholarly research has focused on the evolution of the kitchen and its meaning over time. In several of these research publications scholars profess that the modern American kitchen, more than any other room, has come to symbolize the center or heart of the home, and the warmest room in the house. However, they are quick to acknowledge that, at the beginning of the twentieth century, the kitchen was not so fondly regarded. Little research exists regarding why individuals increasingly became attached to the kitchen or how that attachment influenced the layout, size, objects, and activities conducted in the kitchen. This thesis fills this void by exploring the implications of place attachment on the evolution of the American kitchen from 1901 through 1964. By approaching this research from a combination of design history and environmental psychology, this thesis provides a new perspective to our understanding of the evolution of kitchen design. Using this two-pronged approach, this study contributes to our understanding of the evolution of the kitchen. This study traces the evolution of the modern American kitchen using two qualitative methodologies: material culture and phenomenology. Drawing from a variety of floor plans, advertisements, and articles contained in the House Beautiful magazine 1901 through 1964, as well as writings from popular domestic advisors of the period, this thesis charts the transformation of the modern American kitchen from a "hell on earth" into the "heart and soul of the home." By combining place attachment theory and kitchen design research this thesis provides interior designers new insight into designing kitchens that foster endearing emotional attachment for our clients.
ContributorsTassell, Toni J (Author) / Brandt, Beverly (Thesis advisor) / Heywood, William (Thesis advisor) / Warren-Findley, Janelle (Committee member) / Arizona State University (Publisher)
Created2013
Description
There is a popular notion that creativity is highly valued in our culture. However, those "in the trenches," people in creative endeavors that actually produce the acts of creativity, say this is not so. There is a negative correlation between the value stated and the true value placed on creativity by our contemporary culture. The primary purpose of this study was to investigate that correlation as well as a possible contributing factor to this negative correlation--the fear of risk involved in enacting and accepting creativity. The methods used in this study were literature review and interview. An extensive literature review was done, as much has been written on creativity. The review was done in four parts: 1) the difficulty in defining creativity; 2) fear and the fear of creativity; 3) solutions - ways to be, express, and accept creativity; and 4) the plethora of articles written about creativity. Six one-on-one interviews were conducted with creative individuals from a variety of commercial creative endeavors. Creatives in commercial fields were chosen specifically because of their ability to influence the culture. The results of this study showed that the hypothesis, that there is a negative correlation between the value stated and the true value placed on creativity, is true. The fear of risk involved in enacting and accepting creativity as a factor in this dichotomy was also shown to be true.
ContributorsGelman, Howard P (Author) / Heywood, Wil (Thesis advisor) / Patel, Mookesh (Committee member) / Knox, Gordon (Committee member) / Arizona State University (Publisher)
Created2013
Description
The development of literacy abilities in young children has been a major concern for authorities and teachers in the USA for the last two decades. Significant effort has been devoted to ensure that preschool settings allow and motivate children to engage in literacy activities before entering kindergarten. Research has found that a rich classroom environment in preschool settings enables teachers to encourage literacy interest in children at a young age. While a large amount of research has concentrated in testing the effect of prescriptive modifications in the classroom environment, few have focused on studying the design process and tools that teachers follow to design their classrooms. Public policy and research studies in the United States, mention the design of the classroom environment among teacher's responsibilities, but they do not include practical or methodological guides for them to use. The purpose of this research was to study the design process and tools that teachers use to design literacy rich classrooms in preschool settings. A case study was conducted at the ASU Mary Lou Fulton Teachers College Preschool at Arizona State University. This setting provides a unique opportunity for an exploratory study of this nature because it is a private child development laboratory with a flexible curriculum. Participant observation sessions and in depth semi-structured interviews were conducted to explore the design process used and experienced by the teachers. Findings revealed an iterative and cyclic design process that is repeated over time adjusting to the influence of numerous factors. Results also suggest that teacher's knowledge and beliefs highly influence the organization of their classrooms. Considering these factors as a standpoint allows for further exploration to determine a design process suitable for teachers when designing their learning environments. The use of a structured yet flexible design process, can be a potential tool for educators to design their classrooms, collaborate, document and transmit their knowledge. Although the findings correspond to a specific site studied, the implications are wide reaching as problems and opportunities expressed by the staff are common to other educational settings with similar characteristics.
ContributorsCortes, Catalina (Author) / Patel, Mookesh (Thesis advisor) / Heywood, William (Committee member) / Christie, James (Committee member) / Arizona State University (Publisher)
Created2013
Description
Instrument design is intrinsic to multiple percussion solo performance preparation, from formulating a physical layout of instruments that best suit each work's technical requirements to fabricating unique instruments to fulfill each composer's sonic specifications. Several works in the multiple percussion repertoire require setups comprised partly or entirely of performer-built instruments. Given that performers have varying degrees of expertise with instrument design and construction, the specialized instruments created do not necessarily meet the level of care with which many of the masterworks in the percussion field were created. Even with the many articles, books, and other publications regarding the instrument design issues of specific works, solo percussion literature is so varied that many set-ups are created using a set of nebulous guidelines. Developing solutions to the problems inherent in multiple percussion instrument design is clearly a continuing effort. Instrument and setup design within selected works for solo multiple percussion is the focus of this document and will be addressed through specific examples from literature commonly performed on concert stages and educational institutions. The scope of this document is limited to the widely applicable design issues of three pieces: Maki Ishii's Thirteen Drums: for Percussion Solo, Op. 66 (1985), David Lang's The Anvil The Chorus: for Percussion Solo (1991), and Steve Reich's Music for Pieces of Wood: for claves (1973). The set-up designs for these pieces suggested by the author are largely the focus for which other material in this document is preparatory.
ContributorsColeman, Matthew (Author) / Smith, Jeffrey B. (Thesis advisor) / Sunkett, Mark (Committee member) / Hackbarth, Glenn (Committee member) / Arizona State University (Publisher)
Created2012
Description
The contemporary architectural pedagogy is far removed from its ancestry: the classical Beaux-Arts and polytechnic schools of the 19th century and the Bauhaus and Vkhutemas models of the modern period. Today, the "digital" has invaded the academy and shapes pedagogical practices, epistemologies, and ontologies within it, and this invasion is reflected in teaching practices, principles, and tools. Much of this digital integration goes unremarked and may not even be explicitly taught. In this qualitative research project, interviews with 18 leading architecture lecturers, professors, and deans from programs across the United States were conducted. These interviews focused on advanced practices of digital architecture, such as the use of digital tools, and how these practices are viewed. These interviews yielded a wealth of information about the uses (and abuses) of advanced digital technologies within the architectural academy, and the results were analyzed using the methods of phenomenology and grounded theory. Most schools use digital technologies to some extent, although this extent varies greatly. While some schools have abandoned hand-drawing and other hand-based craft almost entirely, others have retained traditional techniques and use digital technologies sparingly. Reasons for using digital design processes include industry pressure as well as the increased ability to solve problems and the speed with which they could be solved. Despite the prevalence of digital design, most programs did not teach related design software explicitly, if at all, instead requiring students (especially graduate students) to learn to use them outside the design studio. Some of the problems with digital design identified in the interviews include social problems such as alienation as well as issues like understanding scale and embodiment of skill.
ContributorsAlqabandy, Hamad (Author) / Brandt, Beverly (Thesis advisor) / Mesch, Claudia (Committee member) / Newton, David (Committee member) / Arizona State University (Publisher)
Created2012