Feng Shui as a site design tool seeks a different spectrum of criteria in the observation and assessment of a site than that of contemporary site design. It is a method based on the understanding and observation of the energetic conditions within and surrounding a site. Energetic conditions are perceptible. It requires an additional level of awareness to be able to identify what it is that causes a space to feel the way it does. Feng Shui may provide the additional level of consideration that when incorporated in the design process, facilitates spaces that may more effectively fulfill their purpose and feel good to the people using them. This study assessed a variety of existing urban places in Tucson, Phoenix, Scottsdale, Tempe, and Sedona, AZ. for conditions of human comfort based on (1) Feng Shui principles, and (2) contemporary site design recommendations. Current research on the topic of Feng Shui is limited to its application in land planning. This qualitative study applied the principles of Feng Shui as criteria in the evaluation of urban spaces. Results of the study indicate that well designed places from a Feng Shui standpoint were also perceived as well designed from a contemporary site design vantage. The outcome suggests the value of incorporating Feng Shui as a tool in the site design process used by Western designers.

<p> This research aimed to investigate how important it is to embed business education into undergraduate industrial design curriculum and help design students understand the financial aspects of their design ideas, particularly in the areas of cost and profit. To respond to this question, a user-centered design approach was applied to understand design students' perceptions towards business education. Later on, the research findings were synthesized into a list of design requirements for developing a financial assessment tool. After rounds of ideation and looking into other frameworks from business related disciplines, a financial assessment tool was developed. Consequently, this tool was prototyped and piloted in a senior industrial design class in order to test its effectiveness. At last, students who had participated in the experiment evaluated the tool. Their positive feedback proved such methods could be successfully integrated into undergraduate design curriculum and help industrial design students gain a better understanding of the business aspects related to their ideas.</p>

<p> This work concentrates on the relationships between shapes and the lines those shapes are composed of as well as the process by which they are created. In this thesis, I intend to explore the different characteristics of wood and to visualize the language and meaning of the work which results both from those characteristics and from the artist.</p><p> As a maker, I have always been fascinated by the use of wood in the creation of objects. Man can control a material against its own intrinsic attributes to create something very different from that material's natural shape. My works concentrate on illustrating how wood reacts to external manipulation or physical force and how it can accordingly be transformed and yet still keep its original characteristics. Therefore, the process of the construction of the final piece is crucial in my work. The process embodies the relationship between outward control or manipulation and reaction from a material, and it creates the tension between the two entities, producing a physical structure and also a visual presentation. Additionally, this relationship encapsulates a deeper meaning; in the same manner in which the wood strains against the making act of the artist, so also does human nature strive against the outward influences which seek to control it. Through the work, I intend to clarify how human beings interact with each other and how those interactions create emotional tension.</p>

<p> Examining the design education climate of Los Angeles results in finding a broken art education system and misconceived notions about graphic design. The struggle to implement design education into the lives of high school students leads to some students who have access to art classes with an emphasis on technical digital art and some students who have never taken an art or design class. This project is the work of bringing design education to students in the Los Angeles area. This design curriculum was created to promote creative process, problem solving, play and experimentation, and a deeper understanding of the use of graphic design as a communication tool. This curriculum was implemented at the High School Institutes at Inner-City Arts, a nonprofit that provides free arts education to thousands of youth in Los Angeles.</p>

<p> I seek to capture the ephemeral in a series of large-scale weavings that examine relationships between public and private, real and artificial, the mundane and the extraordinary. </p><p> I use mug shots as a device because they represent a perfect juncture between conflict and resolution. I assume the role of the accused in all the compositions. Rather than present the images as photographs I transform them into weavings. The zeros and ones that make up a digital image file become a code which translates as the over and under of warp and weft and embeds the image in the finished cloth. Matte yarn is used for the warp, shiny wire is used for the weft, transforming darks and lights in to rich tactile surfaces. The resulting image appears and disappears depending on the viewer's perspective. </p><p> The viewer is required to physically interact with the artwork in order to see the portrait, creating a dynamic between him and the person pictured. The image slips away as the viewer steps closer, shifting the viewer&amp;apos;s focus to other aspects of the work, and as he circles the art work to recapture the portrait there is time for layers of information to be read. The luxurious weavings are enigmatic and inspire a sense of wonder. Content, materials, and form combine to create a moment where the viewer is taken out of the expected, suspending a fleeting exchange in time and resulting in an experience rather than just a viewing.</p>

Thesis (Ph.D.)--Indiana University, Dept. of Instructional Systems Technology, 2007. / Source: Dissertation Abstracts International, Volume: 68-09, Section: A, page: 3810. Adviser: Thomas Schwen. Title from dissertation home page (viewed May 8, 2008).

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2009. / Source: Dissertation Abstracts International, Volume: 70-06, Section: A, page: . Adviser: David O'Brien. Includes bibliographical references (leaves 202-212) Available on microfilm from Pro Quest Information and Learning.

The Canadian firm of Jacques & Hay was in business for fifty years, during which the company, if The Globe (Toronto) is to be believed, furnished the Province of Canada. This was a stunning and largely undocumented success. Jacques & Hay was one of the largest employers in the province and dominated the cabinet-making trade from 1835 to 1885. In 1871, Jacques & Hay employed 430 men and 50 women in a vertically-integrated operation that included a sawmill, two factories and a showroom. Jacques & Hay produced abundant furniture at reasonable prices. The availability of such household furnishings greatly enhanced domestic life in nineteenth-century Canada, providing scope for a more elaborate social life and allowing more people to achieve a greater sense of comfort and decency in their living arrangements. In addition, Jacques & Hay created the wood interiors for St. James' Cathedral, the Toronto Normal School, University College and Osgoode Hall. The company also supplied the majority of the furnishings for Rideau Hall, Ottawa and Government House, Toronto. While the story of the Jacques & Hay firm throws light on the opportunities Victorian craftsmen had to become manufacturers, it also explains the company's role in making furniture more accessible and contributing to nineteenth-century notions of progress and civility.

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This thesis applies a design programming process to users with multiple, severe disabilities. The goal is to increase independent functioning, self-efficacy and competency through design. The example used in this thesis is the design of day program facilities for adults with multiple, severe disabilities. The existing state of disability in the United States is analyzed. This includes the models of disabilities, historical aspects of the disability movement, the design professions' response, multiple disabilities and day program facilities. Hershberger's Value-Centered programming process is discussed. Its' determinants of architecture are applied to day program facilities and the consumers who attend such programs. Generalized values and issues are presented as background information and applied to a hypothetical design project for a day program facility. Future applications and research are recommended to facilitate the process of including users with special needs in the design programming process.