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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
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
Lonsdaleite, also called hexagonal diamond, has been widely used as a marker of asteroidal impacts. It is thought to play a central role during the graphite-to-diamond transformation, and calculations suggest that it possesses mechanical properties superior to diamond. However, despite extensive efforts, lonsdaleite has never been produced or described as a separate, pure material. Here we show that defects in cubic diamond provide an explanation for the characteristic d-spacings and reflections reported for lonsdaleite. Ultrahigh-resolution electron microscope images demonstrate that samples displaying features attributed to lonsdaleite consist of cubic diamond dominated by extensive {113} twins and {111} stacking faults. These defects give rise to nanometre-scale structural complexity. Our findings question the existence of lonsdaleite and point to the need for re-evaluating the interpretations of many lonsdaleite-related fundamental and applied studies.
ContributorsNemeth, Peter (Author) / Garvie, Laurence (Author) / Aoki, Toshihiro (Author) / Dubrovinskaia, Natalia (Author) / Dubrovinsky, Leonid (Author) / Buseck, Peter (Author) / Department of Chemistry and Biochemistry (Contributor) / College of Liberal Arts and Sciences (Contributor) / School of Earth and Space Exploration (Contributor) / Center for Meteorite Studies (Contributor) / Ira A. Fulton Schools of Engineering (Contributor) / LeRoy Eyring Center for Solid State Science (Contributor) / School of Molecular Sciences (Contributor)
Created2014-11-01
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
The development of stab-resistant Kevlar armor has been an ongoing field of research
since the late 1990s, with the ultimate goal of improving the multi-threat capabilities of
traditional soft-body armor while significantly improving its protective efficiency - the amount
of layers of armor material required to defeat threats. To create a novel, superior materials
system to reinforce Kevlar armor for the Norica Capstone project, this thesis set out to
synthesize, recover, and characterize zinc oxide nanowire colloids.
The materials synthesized were successfully utilized in the wider Capstone effort to
dramatically enhance the protective abilities of Kevlar, while the data obtained on the 14
hydrothermal synthesis attempts and numerous challenges at recovery provided critical
information on the synthesis parameters involved in the reliable, scalable mass production of the
nanomaterial additive. Additionally, recovery was unconventionally facilitated in the absence of
a vacuum filtration apparatus with nanoscale filters by intentionally inducing electrostatic
agglomeration of the nanowires during standard gravity filtration. The subsequent application of
these nanowires constituted a pioneering use in the production of nanowire-reinforced
STF-based Kevlar coatings, and support the future development and, ultimately, the
commercialization of lighter and more-protective soft armor systems.
since the late 1990s, with the ultimate goal of improving the multi-threat capabilities of
traditional soft-body armor while significantly improving its protective efficiency - the amount
of layers of armor material required to defeat threats. To create a novel, superior materials
system to reinforce Kevlar armor for the Norica Capstone project, this thesis set out to
synthesize, recover, and characterize zinc oxide nanowire colloids.
The materials synthesized were successfully utilized in the wider Capstone effort to
dramatically enhance the protective abilities of Kevlar, while the data obtained on the 14
hydrothermal synthesis attempts and numerous challenges at recovery provided critical
information on the synthesis parameters involved in the reliable, scalable mass production of the
nanomaterial additive. Additionally, recovery was unconventionally facilitated in the absence of
a vacuum filtration apparatus with nanoscale filters by intentionally inducing electrostatic
agglomeration of the nanowires during standard gravity filtration. The subsequent application of
these nanowires constituted a pioneering use in the production of nanowire-reinforced
STF-based Kevlar coatings, and support the future development and, ultimately, the
commercialization of lighter and more-protective soft armor systems.
ContributorsDurso, Michael Nathan (Author) / Tongay, Sefaattin (Thesis director) / Zhuang, Houlong (Committee member) / Materials Science and Engineering Program (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2019-05
Description
With renewable energy on the rise, researchers have turned their funding and their focus towards new solar cell technologies, and perovskites are a major source of interest. This class of materials is particularly interesting due to their quick, simple synthesis as well as their physical and electrical superiority when compared to current silicon-based solar cells. Through this thesis, we will explore the synthesis of various types of perovskites and their subsequent characterization, which includes optical microscopy, photoluminescence spectroscopy, Raman microscopy, and X-ray diffraction. Analyzing two different perovskites both before and after a two-week period of storage revealed that while synthesis is indeed experiment-friendly, these materials have a concerning lack of stability even in ideal conditions.
ContributorsBuzas, Benjamin Joseph (Author) / Tongay, Sefaattin (Thesis director) / Muhich, Christopher (Committee member) / Materials Science and Engineering Program (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
This thesis explores the relationship between sustainability, the fashion industry, and fashion exhibitions. Sustainability has been a driving force in the fashion industry in recent years as designers attempt to combat staggering textile waste statistics in order to lessen the damage the industry has on the environment. Producers must rethink human engagement with nature based on a new ethic of ecosystem stewardship, which proposes that humans have ethical obligations to one another in their mutual relationship with non-human species and nature (Schmitz 13). Enhancing a socio-ecological perspective garners new ways of consuming and appreciating clothing design while focusing on lessening impacts on the environment through using less materials, reusing materials in new textile developments, and projecting a sustainable identity that can be followed by the public in order to be more conscious of spending habits, annual waste, and how sustainably ethical companies are. Removing natural resources or transforming landscapes to enhance human well-being paradoxically stands to diminish human well being over time (Schmitz 12), and this is something that humans face with the inevitability of climate change affecting future generations. In mapping the relationship between sustainability, fashion designer's design process, and the way curators communicate sustainable themes, an overall understanding of sustainable culture can be understood in the industry.
ContributorsLord, Nicolas K (Author) / Sewell, Dennita (Thesis director) / Mesch, Claudia (Committee member) / School of Art (Contributor, Contributor) / Barrett, The Honors College (Contributor)
Created2020-05
Description
Graphene is a very strong two-dimensional material with a lot of potential applications in microelectromechanical systems (MEMS). In this research, graphene is being optimized for use in a 5 m x 5 m graphene resonator. To work properly, this graphene resonator must have a uniform strain across all manufactured devices. To reduce strain induced in graphene sheets grown for use in these resonators, evaporated platinum has been used in this investigation due to its relatively lower surface roughness compared to copper films. The final goal is to have the layer of ultrathin platinum (<=200 nm) deposited on the MEMS graphene resonator and used to grow graphene directly onto the devices to remove the manual transfer step due to its inscalability. After growth, graphene is coated with polymer and the platinum is then etched. This investigation concentrated on the transfer process of graphene onto Si/SiO2 substrate from the platinum films. It was determined that the ideal platinum etchant was aqua regia at a volumetric ratio of 6:3:1 (H2O:HCl:HNO3). This concentration was dilute enough to preserve the polymer and graphene layer, but strong enough to etch within a day. Type and thickness of polymer support layers were also investigated. PMMA at a thickness of 200 nm was ideal because it was easy to remove with acetone and strong enough to support the graphene during the etch process. A reference growth recipe was used in this investigation, but now that the transfer has been demonstrated, growth can be optimized for even thinner films.
ContributorsCayll, David Richard (Author) / Tongay, Sefaattin (Thesis director) / Lee, Hyunglae (Committee member) / Mechanical and Aerospace Engineering Program (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12