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Description
The design of a series of parks along Swan Creek in Toledo, Ohio that connect visitors to the environment, history, and communities around them. They will provide spaces for people to walk, bike, kayak, play, and relax while enjoying the creek.
ContributorsMishler, Mallory (Author) / Fish Ewan, Rebecca (Thesis director) / Bockbrader, Tim (Committee member) / Smilovsky, Nikolas (Committee member) / Barrett, The Honors College (Contributor) / The Design School (Contributor)
Created2022-05
Description
It takes 1/10 of a second to make an emotional impact on your audience. Once you do, customers are eight times more likely to trust your brand, seven times more likely to purchase more, and six times more likely to forgive a mistake. Audiences make deep connections with resonant brands, that is brands that build trust with and provide substantial value to their consumers. Brands that resonate with customers enjoy above average economic gains and business resilience superior to their competition because they rank higher in engaging and connecting with their audience, delivering products/services that matter to those who care, and creating brand loyalty in the form of repeat customers and brand advocates. While resonant brands exceed on both the trust-building and value-providing dimensions, there are also those brands that do not build trust with or provide little value to their consumers, making those brands transactional. Not striving to attain or maintain brand resonance risks not differentiating, becoming irrelevant, and providing transactional value, which can quickly be replaced by alternatives offering a better deal. To avoid from becoming transactional, this study seeks to uncover what elements make for a resonant brand and outline the steps to achieve brand resonance.
ContributorsSimmons, William (Author) / Gray, Nancy (Thesis director) / Mejía, Mauricio (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / Department of Marketing (Contributor)
Created2022-05
Description
The impact traditional East Asian design has had on modern-day East Asian design has not been extensively researched. This paper examines the relationship traditional East Asian architectural design has with more modern styles of design in order to determine and compare the extent to which Western-style influences have had an impact in Eastern societies. This research specifically focuses on the country of South Korea and explores various case studies and articles dating from the Joseon dynasty (1392-1910) till present day. By comparing factors related to South Korean culture, the environment, religious philosophies, etc., to architectural trends within the country, we are able to explore the distinct and changing architectural values the society has prioritised over the centuries. This research aims to provide a clearer and more solidified timeline of Korean architectural history which in the past has lacked to address the question revolving around the impact tradition has had on ongoing design trends. I then compare South Korean culture and architecture to other case studies on both East Asian and Western societies in order to determine similarities between past and present architectural styles. The introduction of Western-style architecture in East Asian societies occurred at different critical periods of time and has pushed architectural modernisation to evolve at various speeds and in different directions. By comparing case studies on Japan, China and Korea/South Korea, we are able to explore the various interpretations and the extent to which Western-style design has had influence in this countries. While certain symbolic elements in traditional East Asian architecture have been lost during the modernisation phase of design, there continues to be a link between past and present styles through the emergence of new and improved modern features that have acted as replacements for previous ones. Currently trending in South Korean society is the want to revive and reincorporate traditional architectural features in the city landscape. Perhaps a new vision will emerge where past will become the new modern, and this will encourage an even greater extent of traditional influences on modern architecture in East Asia.
ContributorsFrancis, Naomi (Author) / Oh, Young (Thesis director) / Cho, Sookja (Committee member) / Barrett, The Honors College (Contributor) / The Design School (Contributor)
Created2022-05
DescriptionDesigning an effective, relaxing, and playful outdoor space on campus for college students to promote and impact positively their physical and mental health.
ContributorsCheng, Abbie (Author) / Shin, Dosun (Thesis director) / Piparsania, Swati (Committee member) / Barrett, The Honors College (Contributor) / The Design School (Contributor)
Created2022-05
Description
With its goals, methods, and standards, sustainability has gained a lot of traction. Nevertheless, there is still room for improvement in terms of sustainability. Professionals and academics attempted to meet these demands by developing and implementing new substantial strategies for accelerating the transition to a more sustainable future. Culture is a crucial factor in evolution because it is the primary means by which our forefathers adapted to their surroundings. Resistance movements such as critical regionalism theory, resisting placelessness, and whimsical individualism arose as a result of the uncritical acceptance of the International Movement's principles and later post-modern languages. Considering all these, critical regionalism, biophilic design, regenerative design, and tourism are all investigated in this thesis. The goal is to investigate the relationship between these design approaches: critical regionalism, biophilic design, and regenerative design, and experiential hotels. A comprehensive literature review and the optimization of a collective case study are part of the methodology.By and large, critical regionalism creates autonomy and elevates its construction to an art form by providing functionally acceptable forms that are adapted to nature and the region. By translating the site's environmental characteristics within the hotel, biophilic design emulates nature through visual signs and a dramatic sense of place. By creating a design system, regenerative design aims to preserve hotel resources while also reducing carbon footprint and CO2 emissions. This study demonstrates the positive impact of combining sustainability methods and has provided individuals with a rich experience while minimizing environmental impact. Finally, based on the findings of the data and combining the three design approaches of critical regionalism, biophilic design, and regenerative design, this thesis proposes guidelines for designing experiential hotels.
ContributorsALBUGHDADI, Rawan (Author) / Bernardi, Jose (Thesis advisor) / Bochart, Sonja (Committee member) / Goodman, Rebekka (Committee member) / Arizona State University (Publisher)
Created2022
Description
Presently, Information Design is on an upward trajectory, as it is being implemented on various platforms, from professional presentations to social media posts. The need for strong, understandable visual content has driven individuals with varying backgrounds to adopt the methods from the field. However, whether novice or trained professional designers, a vast number appear to pillage the random works they come across and apply the visuals without considering the historic lessons that arewithin each visualization. When designers discuss the history of Information Design, many cannot agree on much. Of the books that are in circulation, a majority highlight specific people, places, designs, and/or time periods. A few identify common themes but fall short ofemphasizing threads that connect people and methods. In actuality, the history of Information Design is severely limited. Designers fail to notice the benefits of understanding the complexity of problems encountered by practitioners in the 18th and
19th centuries. Many in the field deny themselves the opportunity to recognize the inventiveness, successes, and failures of the predecessors. Lost are the lessons, skills, and insight taught by the progenitors. This research aims to highlight connections from the past to rediscover their value in the present, while also calling attention to contributors who were previously overlooked or undervalued. Through the exploration of methods and themes, as well asa look at responses collected from modern designers, a reconstruction of historic developments will allow the discipline to untangle its complex past in order to set goals for the future.
ContributorsPeña, Lisa (Author) / Patel, Mookesh (Thesis advisor) / Heywood, William (Thesis advisor) / Serwint, Nancy (Committee member) / Arizona State University (Publisher)
Created2022
Description
Since the onset of the COVID-19 pandemic, the world has been turned upside down. People everywhere are recommended to self-isolate and social distance to limit the spread of the deadly virus. Older adults specifically are being forced into isolation because they are at the highest risk for severe illness—illness that can result in hospitalization, intensive care, or even death. But this isolation is not new. Even before COVID-19, the older adult population has been suffering through a social isolation epidemic. And now, with social distancing measures in place, even more adults are being socially isolated to remain safe and healthy. But when individuals are isolated for long periods of time and no longer have an active social network to connect with, this social isolation can become harmful. Social isolation is known to increase the risk of cardiovascular disease, obesity, and stroke, and it is associated with anxiety, depression, and cognitive decline. Furthermore, the risk of premature death from any cause increases because of social isolation. With all these negative consequences, it is crucial that we confront the toll that COVID-19 countermeasures have taken on older adults and look for ways to prevent social isolation. Venture Together, a multi-user social media platform designed for older adults, attempts to do just this and more.
ContributorsHouchins, Michelle (Author) / Doebbeling, Bradley (Thesis director) / Mejía, Mauricio (Committee member) / Barrett, The Honors College (Contributor) / Computer Science and Engineering Program (Contributor) / School of International Letters and Cultures (Contributor)
Created2022-05
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