Matching Items (42)
Filtering by
- Status: Published
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
Description
In the middle of the 20th century, juried annuals of Native American painting in art museums were unique opportunities because of their select focus on two-dimensional art as opposed to "craft" objects and their inclusion of artists from across the United States. Their first fifteen years were critical for patronage and widespread acceptance of modern easel painting. Held at the Philbrook Art Center in Tulsa (1946-1979), the Denver Art Museum (1951-1954), and the Museum of New Mexico Art Gallery in Santa Fe (1956-1965), they were significant not only for the accolades and prestige they garnered for award winners, but also for setting standards of quality and style at the time. During the early years of the annuals, the art was changing, some moving away from conventional forms derived from the early art training of the 1920s and 30s in the Southwest and Oklahoma, and incorporating modern themes and styles acquired through expanded opportunities for travel and education. The competitions reinforced and reflected a variety of attitudes about contemporary art which ranged from preserving the authenticity of the traditional style to encouraging experimentation. Ultimately becoming sites of conflict, the museums that hosted annuals contested the directions in which artists were working. Exhibition catalogs, archived documents, and newspaper and magazine articles about the annuals provide details on the exhibits and the changes that occurred over time. The museums' guidelines and motivations, and the statistics on the award winners reveal attitudes toward the art. The institutions' reactions in the face of controversy and their adjustments to the annuals' guidelines impart the compromises each made as they adapted to new trends that occurred in Native American painting over a fifteen year period. This thesis compares the approaches of three museums to their juried annuals and establishes the existence of a variety of attitudes on contemporary Native American painting from 1946-1960. Through this collection of institutional views, the competitions maintained a patronage base for traditional style painting while providing opportunities for experimentation, paving the way for the great variety and artistic progress of Native American painting today.
ContributorsPeters, Stephanie (Author) / Duncan, Kate (Thesis advisor) / Fahlman, Betsy (Thesis advisor) / Mesch, Claudia (Committee member) / Arizona State University (Publisher)
Created2012
Description
Urban areas produce an urban heat island (UHI), which is manifest as warmer temperatures compared to the surrounding and less developed areas. While it is understood that UHI's are warmer than their surrounding areas, attributing the amount of heat added by the urban area is not easily determined. Current generation modeling systems require diurnal anthropogenic heating profiles. Development of diurnal cycle profiles of anthropogenic heating will help the modeling community as there is currently no database for anthropogenic heating profiles for cities across the United States. With more accurate anthropogenic heating profiles, climate models will be better able to show how humans directly impact the urban climate. This research attempts to create anthropogenic heating profiles for 61 cities in the United States. The method used climate, electricity, natural gas, and transportation data to develop anthropogenic heating profiles for each state. To develop anthropogenic heating profiles, profiles are developed for buildings, transportation, and human metabolism using the most recently available data. Since utilities are reluctant to release data, the building energy profile is developed using statewide electricity by creating a linear regression between the climate and electricity usage. A similar method is used to determine the contribution of natural gas consumption. These profiles are developed for each month of the year, so annual changes in anthropogenic heating can be seen. These profiles can then be put into climate models to enable more accurate urban climate modeling.
ContributorsMilne, Jeffrey (Author) / Georgescu, Matei (Thesis director) / Sailor, David (Committee member) / Brazel, Anthony (Committee member) / Barrett, The Honors College (Contributor) / School of Mathematical and Statistical Sciences (Contributor) / School of Geographical Sciences and Urban Planning (Contributor)
Created2014-05
Description
The urban thermal environment varies not only from its rural surroundings but also within the urban area due to intra-urban differences in land-use and surface characteristics. Understanding the causes of this intra-urban variability is a first step in improving urban planning and development. Toward this end, a method for quantifying causes of spatial variability in the urban heat island has been developed. This paper presents the method as applied to a specific test case of Portland, Oregon. Vehicle temperature traverses were used to determine spatial differences in summertime ~2 m air temperature across the metropolitan area in the afternoon. A tree-structured regression model was used to quantify the land-use and surface characteristics that have the greatest influence on daytime UHI intensity. The most important urban characteristic separating warmer from cooler regions of the Portland metropolitan area was canopy cover. Roadway area density was also an important determinant of local UHI magnitudes. Specifically, the air above major arterial roads was found to be warmer on weekdays than weekends, possibly due to increased anthropogenic activity from the vehicle sector on weekdays. In general, warmer regions of the city were associated with industrial and commercial land-use. The downtown core, whilst warmer than the rural surroundings, was not the warmest part of the Portland metropolitan area. This is thought to be due in large part to local shading effects in the urban canyons.
ContributorsHart, Melissa A. (Author) / Sailor, David (Author)
Created2008-05-07
Description
Presentation by David Sailor, professor in the School of Geographical Sciences and Urban Planning and director of the Urban Climate Research Center at ASU. Sailer's presentation addresses how to define urban heat islands (UHI), and decisions about why and how to measure these complex ecosystems.
ContributorsSailor, David (Author)
Created2017-09-07
Description
Ozone is a highly reactive compound that is harmful at very low concentrations as compared to other pollutants. One method of pollution control is the use of photocatalysis, specifically with titanium dioxide to induce ozone decomposition. An experiment was designed and executed in order to determine the rate of decomposition by coating concrete in 5% by weight titanium dioxide mixed with paint. The experiment was unsuccessful in inducing decomposition but gave important insight into the adsorptive properties of ozone over surfaces, particularly with bare concrete that had an adsorption of 22.51 ± 2.457 ppbv, which was much better than the coated samples. Further studies into the development of photocatalytic paint is needed in order to develop an effective urban ozone pollution control method to be implemented in major cities, particularly in the most polluted such as Los Angeles, California.
ContributorsMedina, Taylor (Author) / Andino, Jean (Thesis director) / Sailor, David (Committee member) / Chemical Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2021-05
Description
This project is a critical look at Chicano artist Vincent Valdez's 2002-2004 series Stations. The theoretical framework for this work is the concept of cultural citizenship, which refers to a variety of ways in which marginalized groups of people create, fight for, and retain space, identity, and rights within American society through acts of daily life. This research considers how the ten large-scale charcoal drawings that comprise Stations contribute to the construction and representation of distinct and unique Latino spaces and identities. Valdez establishes space in the sense of belonging and community engagement that his work allows. Within this context, thoughtful attention is paid to the cultural meaning of the artist's subject choices of boxing and religion. This research considers the significance of these subject choices and how the connections between the two create unique spaces of shared experience and consciousness for a viewer of the work. However, the parallels that Valdez draws between the Christ figure and his boxer also allow for a careful examination of the representations and contradictions of contemporary constructions of masculinity that are present in the series. Within this project, the work of Gloria Anzaldúa is critical in understanding and discussing the fluid nature of Chicano identity. This study also considers how in the tradition of Chicana writers, Valdez expresses and affirms identity through autobiographical methods. Further, the artist's use of charcoal to create these large scale drawings is considered for its narrative qualities. This study concludes that Valdez's series Stations is an act of cultural citizenship.
ContributorsStemm Patel, Shannon (Author) / Malagamba-Ansótegui, Amelia (Thesis advisor) / Mesch, Claudia (Committee member) / Sweeney, Gray (Committee member) / Arizona State University (Publisher)
Created2010
Description
The Indian princess began as an imposition, a Eurocentric conception based in preconceived notions of cultural structures and gendered power roles - a mixture of noble woman and provocative demure maiden - created by Anglo men to epitomize an idyllic image of otherness and womanhood. This analysis begins by exploring the history of the icon that was first conceived through sixteenth century explorer's tales of exotic queens then traces her progression through the romantic idealizations of the Indian woman Pocahontas. Research then explores how the character, comprised of a mixture of feathers, beads, and buckskin, was implemented into performance, and discusses how her flesh and blood enactment became critical to her survival. Drawing on the theories of contemporary critics, final examination turns to twentieth century perceptions of the Princess and reactions to her by contemporary Native artists whose manipulations of the character opens alternative dialogs about the stereotype to offer reconstructions of her historic discourse.
ContributorsHanawalt, Tammi Jo (Author) / Duncan, Kate (Thesis advisor) / Fahlman, Betsy (Committee member) / Malagamba-Ansótegui, Amelia (Committee member) / Mesch, Claudia (Committee member) / Arizona State University (Publisher)
Created2011
Description
I have conducted a creative that captures the power of women through an artistic perspective. The title of the creative project is “A Tribute to the Women Among us,” because this project’s purpose is to express gratitude for the women that fought for the rights I have today, and for the women I encounter in marches, continuing the fight. I have taken photographs of women and children at women's marches in the United States and in France, yielding a total of 10 photographs I will be presenting at my defense, and printing out to sell. All the profits made from the photographs will be donated to planned parenthood.
ContributorsMiss Ozuna, Alejandra Miss (Author) / Anand, Julia (Thesis director) / Mesch, Claudia (Committee member) / School of Politics and Global Studies (Contributor) / Department of Psychology (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
Photovoltaic panels are commonly used for their versatility in on-site generation of clean electricity in urban environments, specifically on rooftops. However, their implementation on rooftops poses potential (positive and negative) impacts on the energy use of buildings, and urban climates. The negative impacts are compounded if PV is installed on top of a high-albedo rooftop. This study quantitively investigates these impacts from PV installation on top of a building with a white roof in Phoenix, AZ. We supplemented our measurements with EnergyPlus simulations to model the energy implications for archetypical residential and retail buildings and calculated the energy penalty to generation ratio as well as sensible heat flux for each combination of panel height and building type. Results indicate that the daily cooling energy penalty to due blockage of outgoing longwave radiation can be 4.9—11.2% of the PV generation. In addition, while we observed a small decrease in nighttime sensible heat flux to the ambient, PV cases increased the daytime heat flux by more than a factor of 10. This study highlights the potential unintended consequences of rooftop PV under certain conditions and provides a broader perspective for building designers and urban planners.
ContributorsBrown, Kyle (Author) / Sailor, David (Thesis director) / Phelan, Patrick (Committee member) / Department of Physics (Contributor) / Dean, W.P. Carey School of Business (Contributor) / School of Sustainability (Contributor) / Barrett, The Honors College (Contributor)
Created2019-05