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- Creators: Arizona State University
Description
Measuring the success of a transportation project as it is envisioned in the Regional Transportation Plan (RTP) and is detailed in an Environmental Impact Statement (EIS) is not part of any current planning process, for a post construction analysis may have political consequences for the project participants, would incur additional costs, and may be difficult to define in terms of scope. With local, state and federal budgets shrinking, funding sources are demanding that the performance of a project be evaluated and project stakeholders be held accountable. The Transportation Research Board (TRB) developed a framework that allows transportation agencies to customize their reporting so that a project's performance can be measured. In the case of the Red Mountain Freeway, the selected performance measure allows for comparing the population forecasts, the traffic volumes, and the project costs defined in the final EIS to actual population growth, actual average annual daily traffic (ADT), and actual project costs obtained from census data, the City of Mesa, and contractor bids, respectively. The results show that population projections for both Maricopa County and the City of Mesa are within less than half a percent of the actual annual population growth. The traffic analysis proved more difficult due to inconsistencies within the EIS documents, variations in the local arterials used to produce traffic volume, and in the projection time-spans. The comparison for the total increase in traffic volume generated a difference of 11.34 percent and 89.30 percent. An adjusted traffic volume equal to all local arterials and US 60 resulted in a difference of 40 percent between the projected and actual ADT values. As for the project cost comparison, not only were the costs within the individual documents inconsistent, but they were underestimated by as much as 75 percent. Evaluating the goals as described in an EIS document using the performance measure guidelines provided by the TRB may provide the tool that can help promote conflict resolution for political issues that arise, streamline the planning process, and measure the performance of the transportation system, so that lessons learned can be applied to future projects.
ContributorsKizior, Angelika (Author) / Golub, Aaron (Thesis advisor) / Kuby, Michael (Committee member) / Wentz, Elizabeth (Committee member) / Arizona State University (Publisher)
Created2012
Description
The rationale behind this thesis is grounded in nearly two years of experience interning at UTC Aerospace Systems (UTAS). I was able to gain a wide exposure to different facets of the supply chain management organization during my time as an intern, from strategic sourcing and commodity management, to tactical procurement and supplier development. In each of these respective areas, I observed a variety of initiatives that did not reach their full potential because employees were not provided the tools for success. One of these areas in particular is the New Product Introduction (NPI) process management, in which there is not a standard process for program managers to follow from start to finish. I saw this as an opportunity to hone in the scope of my thesis research and experience at UTAS to improve a process and provide standard work and tools for it to be consistently executed. The current state process is not formalized \u2014 it merely tracks certain metrics that are not necessarily applicable to the overall health of the program because they do not monitor the progress of the program. This resulted in heavy costs incurred from inadequate planning, a skewed timeline, and customer frustration. The aim of the desired state NPI process is to gather cross-functional expertise and weigh in, adhere to a strict entry to market timeline, and increase customer satisfaction, all while minimizing costs incurred throughout the life of the program. The dominant output of this project will be a cross-functional flow chart of the process for each group to follow and standard work and tools to support the process across a variety of NPI program applications.
ContributorsThorn, Taylor Aiko Marie (Author) / Brown, Steven (Thesis director) / Arrigoni, Gregory (Committee member) / Barrett, The Honors College (Contributor) / School of International Letters and Cultures (Contributor) / Department of Supply Chain Management (Contributor) / W. P. Carey School of Business (Contributor)
Created2015-05
Description
Employee voicing facilitates positive changes and experiences for organizations and employees. However, despite a plethora of research on voice in different disciplines, our understanding of the process of employee voicing is still limited. This study seeks to (a) identify the phases that characterize the voicing process and (b) uncover the communicative strategies that characterize the different phases of the voicing process in the renewable energy industry in Kenya. The study utilized a qualitative approach. Namely, semi-structured interviews were conducted with twenty-three renewable energy workers in Kenya who reported to have engaged in voicing. Data were analyzed using a grounded theory approach. The findings revealed five core phases that characterize voicing: idea formation, planning, initial enactment, reflexive enactment, and outcome. Further, the findings uncovered a variety of communicative strategies that are used in the different phases of voicing. These strategies emerged from the perspectives of different actors such as voicers, voicers’ peers, and recipients and their peers who are involved in the voicing process. The findings of this study advance voice theory by reconceptualizing voicing as a process that is highly interactive. Additionally, the findings extend voice theory in three other ways. First, the results demonstrate that power and status disparities in organizations produce hierarchies that inhibit voicing, especially among low power and status employees. Participants discussed how they communicatively navigate these disparities. Second, the results shed light on the ways voicers navigate different risks associated with voicing such as idea stealing and retributions. Third, the findings illustrate the specific ways that positive communicative relationships between peers, and between supervisors and subordinates facilitate voicing. Both supervisors and peers are highly involved in all phases of the voicing process and thus, contribute to the development and enactment of the ideas. Finally, the findings offer practical ways for cultivating and fostering voicing to voicers, voicers’ peers, voice recipients, and organizations in the renewable energy industry.
ContributorsKiura, Mary (Author) / Kim, Heewon (Thesis advisor) / Mongeau, Paul (Committee member) / Waldron, Vincent (Committee member) / Bisel, Ryan (Committee member) / Arizona State University (Publisher)
Created2022
Description
Temporal Creative Entanglement and the Composer’s Search for a Unique Voice is about some of the creative challenges inherent in the composing process. Creative entanglement is when a composer gets caught up—entangled—in the creative process and it tarnishes their sense of how to appropriately assemble the formal structure of a piece. The word temporal means that I’m focusing on how a lot of creative entanglement happens because of process / product disparities related to time. Process / product disparity is the term I use to describe the enormous differences between the experience of composing and the experience of hearing the premiere of a work. And, I bring up the composer’s search for a unique voice because composers are especially vulnerable to creative entanglement when they are trying to write in a new style. I try to identify some different ways a composer can become entangled by discussing some specific ways that people subconsciously process music (musical expectations and information flow). I draw on the works of David Huron, Fred Lerdahl, and John Sloboda, among others, to paint a picture of the different mental processes that occur during composing and listening. I discuss how schematic, veridical, and dynamic expectations work in the mind of composer and the listener, and how these relate to creative entanglement. I also discuss how the conception of large-scale form fits into this topic. In the conclusion, I offer some thoughts on approaching composing from the perspective of creative entanglement. To close, I offer a perspective about artistic satisfaction and composing.
ContributorsClay, William (Author) / Bolanos, Gabriel (Thesis advisor) / Temple, Alex (Committee member) / Knowles, Kristina (Committee member) / Arizona State University (Publisher)
Created2021