<p> This study seeks to understand the larger cultural context that gave rise to what is referred to as "non-design," a term designated to denote a particular aesthetic that is characterized by a suspicion of, and/or rejection of, "conscious" design, while embracing various phenomenon that emerge without "intention" or "deliberate human design." The study traces the phenomenon of "non-design" in British and American design culture of the postwar period. The author argues that following Friedrich von Hayek's theories of the "undesigned" nature of social institutions and his concept of a "spontaneous order" of the 1940s, non-design first emerged in design discourse and practice in the early 1950s in England, particularly in the work of certain members of the Independent Group, and by the mid-1960s it gained currency in the United States in the architectural and urban theories of Charles Moore, Robert Venturi and Denise Scott Brown, and particularly in Reyner Banham's writing on American urbanism. While rarely made explicit, this dissertation argues that the concept of non-design played an important role in design and urban debates of the postwar period.</p>

<p> This cultural study critically investigates the mechanics of the revolutionary posters that were used for mobilizing the Iranian masses and later incorporated by the Islamic propaganda machinery to mark the continuity of the Iranian Revolution. The posters are organized thematically: The initial posters incorporate the religious/secular symbolism of coffeehouse-style poster paintings from the Qajar-era and are followed by posters showcasing the means and spaces of mobilization including the influence of the mosque, religious seminaries, cassette tapes and city walls. The posters in the middle of the thesis try to showcase how influential the rhetoric of Shi'ite Ideology was as projected by the revolutionary ideologues in appealing to the different religious minorities and classes under the Pahlavi state for the resistance movement. The photographic posters follow these national cohesion posters and bridge history and memory, thus situating these posters in the realm of sites of memory, mourning and commemoration. The posters in the last segment include the following themes: gender, commemoration of national and international events including the Iran-Iraq War, and the Gathering of the Liberation Movements of the World. Contrary to the argument portraying posters as insignificant to the Iranian Revolution, this study locates the propaganda images in the milieu of "small media" sparking a "big revolution." Simultaneously, this study reveals the inescapability faced by the ideologues in utilizing abstract, grotesque and profane themes to mobilize and mark the continuity of Anti-Western, Anti-Modern Islamist Revolution.</p>

<p> In the past few decades, web technologies and increasingly accessible digital fabrication technologies such as 3D printers and laser cutters have made it easier for individuals and communities to create complex material objects at home. As a result, communities of individuals who make things outside formal institutions, known as maker communities, have combined traditional crafts and technical knowledge with digital tools and web technologies in new ways. This thesis analyzes maker communities as post-industrial participatory design communities and examines them as participatory spaces where technical communication occurs between individuals with varying levels of expertise and sometimes drastically different knowledges. Ultimately, this thesis asks what technical communicators can learn from maker communities about international post-industrial economies and the future of technical communication. </p><p> This thesis explores how the emergence of interdisciplinary maker communities is rooted in earlier open source movements and the web, how open source principles change when applied to material development processes, how makerspaces and maker faires function as sites that bring together makers in development, and how maker communities serve as examples of post-industrial configurations of participatory communities. </p><p> Through participating in and analyzing maker communities, I suggest that participatory communities are a fundamental component of post-industrial development processes, and that technical communicators are well equipped to deal with the socio-cultural, rhetorical, and technological challenges such communities face. Furthermore, drawing on Liza Potts' theory of Experience Architecture, I suggest that technical communicators will continue to act as guides in decision making processes and as creators of communities, while also creating systems that enable greater exchange of information across platforms and communities, in both physical and digital realms.</p>

<p> This dissertation is comprised of three essays that explore the connections between buildings and their impacts on outcomes associated with occupant health. The essays are: 1. The Effect of Certified Green Office Buildings on Occupant Health: A Systematic Review and Meta-Analysis, 2. Understanding Evidence-Based Design Through a Review of the Literature, 3. Future Directions for Evidence-Based Design in Health Care Facilities.</p><p> Essay one, entitled The Effect of Certified Green Office Buildings on Occupant Heath: A Systematic Review and Meta-Analysis, explores the connections between certified green office buildings and their impacts on occupant health via the application of a systematic review and meta-analysis. An extensive literature search was conducted to locate any studies that examined the health of occupants in conventional buildings versus the health of the same populations after a move into a certified green building. The literature review followed the Cochrane Collaboration protocol for conducting systematic reviews. The results of a meta-analysis of the two studies uncovered by the systematic review show a positive relationship between certified green office buildings and improved occupant health (SMD 1.09), yet there was insufficient power (CI -0.88, 3.05) to prove causality.</p><p> Essay two, entitled Understanding Evidence-Based Design Through a Review of the Literature, relates the current understanding of the concept of Evidence-Based Design (EBD), as specifically related to health care facilities, through the vehicle of an annotated bibliography of the relevant literature. EBD lacks a universally agreed upon definition, but one of the stronger definitions from the architecture discipline states that evidence-based design is a process for the conscientious, explicit, and judicious use of current best evidence from research and practice in making critical decisions, together with an informed client, about the design of each individual and unique project. The outcomes of primary concern with health care facilities tend to fall into three categories&mdash;patient/family outcomes, staff outcomes and fiscal outcomes.</p><p> The thirty-one annotated articles reveal that the concept of EBD is quite complex, especially as it relates to the gathering and assessment of data and how such data is used to inform the building project. The bulk of the complexity lies with the word `evidence.' The current literature suggests disparity among researchers and practitioners over the collection, assessment and incorporation of evidence related to the collection, analysis and incorporation of evidence into building projects that seek to have a positive impact on the three main outcome categories of interest in healthcare facilities&mdash;patient outcomes, staff outcomes and fiscal outcomes.</p><p> Essay three, entitled Future Directions for Evidence-Based Design in Health Care Facilities, anticipates the future of evidence-based design as related to the design and construction of health care facilities. Reimbursement policies are driving health care to include more community based and customer services oriented delivery models. Pay based on performance&mdash;quality and efficiency of health care delivered&mdash;as well as customer satisfaction are taking on new importance and will drive designers of health care facilities to develop ever new methodologies for gathering and assessing evidence.</p>

Thesis (Ph.D.)--Indiana University, Dept. of Folklore, 2007. / Source: Dissertation Abstracts International, Volume: 68-05, Section: A, page: 2108. Adviser: Beverly Stoeltje. "Title from dissertation home page (viewed Jan. 9, 2008)".

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2007. / Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2707. Adviser: Elizabeth Hearne. Includes bibliographical references (leaves 411-442) Available on microfilm from Pro Quest Information and Learning.

The dissertation examines the history of modern design in early 20th-century China. The emergent field of design looked to replace the specific cultural and historical references of visual art with an international language of geometry and abstraction. However, design practices also, encouraged extracting culturally unique visual forms by looking inward at a nation’s constructed past. The challenge of uniting these dual, and seemingly contradictory, goals was met in a collaborative book cover design project between Lu Xun (1881-1936), China’s most influential modern writer, and Tao Yuanqing (1893-1929), a painter who transformed ancient motifs into a transnational vocabulary of modern design. As the title suggests, the dissertation provides a history of modern Chinese design in four chapters, with the Lu Xun-Tao Yuanqing collaboration at its core. The investigation begins with the moment of culmination, wherein Lu Xun and Tao Yuanqing’s intersubjective dynamic allowed for evocative yet inscrutable book cover designs to be created. In the new medium of design, the writer’s anxiety regarding the inadequacy of language converged with the artist’s desire for ambiguity in art. The critical analysis then moves back to earlier instances of design and examines how the history of design in China was inflected by the World Exposition, Japan, art education, and commercial art. The inquiry finally moves forward to the discussion of Tao Yuanqing’s art and design’s relationship with a range of discursive fields in aesthetics and literary criticism, including modern notions of beauty, childlikeness, empathy, the native soil movement, cosmopolitanism, symbolism, and ambiguity in art. This part reveals how Tao Yuanqing’s innovations ironically endorsed while simultaneously subverting contemporary interpretive efforts. / History of Art and Architecture

The purpose of this project is to identify sources of funding for sustainable building projects and create a catalog of the findings. This study targeted the nonprofit, humanitarian, and private organization sectors with the goal to encourage subsequent projects that may positively impact the quality of life for people in need. It has been predicted that in the next 25 years 75% of America's built environment will be either new or renovated. The downside is that new buildings cause substantial ecological damage due to the extraction of materials and account for as much as 40% of all greenhouse gases. As a result, trends in the industry of design show growth in the green-building market. How do organizations without financial means maintain environmental responsibility as they build to meet needs? Besides identifying financing sources for above-mentioned types of organizations, this thesis also offers a model for the grant-finding process geared toward first-time searchers/applicants. Applicable sources of funding from this catalog will be recommended to the Teton Valley Community School (TVCS), winner of the 2009 Open Architecture Challenge, in Victor, Idaho, and the case study for this project. At the time of this study, between September, 2009 and February, 2010, the Teton Valley Community School was in the process of seeking out grant opportunities for their innovative, sustainable classroom project. At this writing, the total figure to be raised has not yet been determined, though it is expected to be in the $5-10 million range. The TVCS master plan is to eventually build five additional classrooms with design objectives to create flexible spatial configurations, reduce the school's ecological footprint, and build a strong connection to the outdoors in response to the mountain climate where they are located.

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