The current human-created division between the natural and built environments has exacerbated environmental problems because nature has been designed as and, consequently, is seen as an Other to be utilized and manipulated at will. Exploring this disconnected relationship between humans and nature, as well as its origin and its effect on building occupants and the environment, is thus a necessary part of this project. The primary concern, however, centers on how we can establish a relationship with the natural environment through interior design to help foster ecological design practices and positive environmental behaviors that move beyond sustainability, resulting in a positive human-nature relation while supporting a coevolutionary perspective. Specifically, this investigation utilizes biophilic design as a solution to the division. The product is an adaptively reused structure that houses a mixed-use, multi-unit residential development, which explores the creation of human-nature connections through direct, indirect, and symbolic means.

Artistic outlets act as mechanisms with the potential to provide transformative effects on a psychological, emotional, and physical level. Unfortunately, barriers such as inequality (Erickson, 2008, p. 345) and the economic initiatives of art institutions have provoked the emergence of boundaries, hindering the opportunities and desire to engage (p. 345; Tepper, 2008, p. 363, 368). This practicum project responds to these obstructions by presenting an artistic institution that expands access to the art-form of dance by celebrating individual expression, collaboration, and cultural heritage. The Collaborative Dance Centre embraces the notion of a participatory culture and artist collective by breaking down hierarchal structures to present the general public and amateur artists with the opportunity to engage with the professional dance realm (Jenkins & Bertozzi, 2008, p. 174; Cotter, 2006, p. 21). These notions allow participants to gain exposure to the technical aspects associated with each genre, as well as the various elements of performance. By exploring experiential learning, and post-museum theory this practicum presents an interior that repositions boundaries to encourage participants to engage in experiences that are often restricted from the general public and amateur artists (Brooks-Harris & Stock-Ward, 1999, p. 122-124; Bruce, 2006, p129). The intricacies of dance have also been used to direct design development by employing the ingredients of choreography to guide design principles and elements (Humphrey, 1983, p. 46). The resulting interior connects people from diverse backgrounds through the act of dance stimulating growth, passion and transformation.

Agricultural education consists of three components: classroom instruction, FFA, and supervised agricultural experience (SAE). SAE is the experiential learning component in which students apply agricultural principles and concepts. The purpose of this study was to identify the perceptions of Kentucky high school agriculture teachers toward the value of SAE, the quality components of SAE, and teacher satisfaction with SAE. A secondary purpose was to determine the status of SAE participation in Kentucky. This study concluded that Kentucky agriculture teachers perceive SAE as a valuable component of agricultural education. Moreover, teachers were in agreement with accepted quality standards for SAE programs, but the findings implied that other quality indicators may be valid. Furthermore, teachers were not satisfied with their SAE programs. A slight majority of students in Kentucky agricultural education programs have a SAE with the bulk of those SAEs categorized as either placement or entrepreneurship SAEs. Based on the conclusions, the author recommended that a SAE task force be created to address concerns related to SAE participation, student and teacher motivation to conduct SAE, state rewards for SAEs, and assessing the quality of SAE programs in Kentucky. KEYWORDS: Agricultural

The two major objectives of this creative project were to provide students a way to visualize and apply the elements and principles of design, and to aid in better comprehension and retention of the interior design principles. Both objectives were accomplished by: enables hands-on-experience in redecorating the interior to apply the principles of design, and (2) developing an appropriate unit plan, with accompanying lesson plans and activity sheets that can be used with the model house while teaching interior design.Applying new wall, window, and floor treatments will enable students to visualize as well as apply the interior design concepts. The unit plan provides activities as well as evaluations for the students to reinforce their knowledge of the interior design principles. / Department of Home Economics

The University of Waterloo Alternative Fuels Team (UWAFT) is a student team that designs and builds vehicles with advanced powertrains. UWAFT uses alternatives to fossil fuels because of their lower environmental impacts and the finite nature of oil resources. UWAFT participated in the EcoCAR Advanced Vehicle Technology Competition (AVTC) from 2008 to 2011. The team designed and built a Hydrogen Fuel Cell Plug-In Hybrid Electric Vehicle (FC-PHEV) and placed 3rd out of 16 universities from across North America. UWAFT design projects offer students a unique opportunity to advance and augment their core engineering knowledge with hands-on learning in a project-based environment. The design of thermal management systems for powertrain components is a case study for design engineering which requires solving open ended problems, and is a topic that is of growing importance in undergraduate engineering courses. Students participating in this design project learn to develop strategies to overcome uncertainty and to evaluate and execute designs that are not as straightforward as those in a textbook. Electrical and control system projects require students to introduce considerations for reliability and robustness into their design processes that typically only focus on performance and function, and to make decisions that balance these considerations in an environment where these criteria impact the successful outcome of the project. The consequences of a failure or unreliable design also have serious safety implications, particularly in the implementation of powertrain controls. Students integrate safety into every step of control system design, using tools to identify and link together component failures and vehicle faults, to design detection and mitigation strategies for safety-critical failures, and to validate these strategies in real-time simulations. Student teams have the opportunity to offer a rich learning environment for undergraduate engineering students. The design projects and resources that they provide can significantly advance student knowledge, experience, and skills in a way that complements the technical knowledge gained in the classroom. Finding ways to provide these experiences to more undergraduate students, either outside or within existing core courses, has the potential to enhance the value of program graduates.

Within ecotourism there is a built in assumption that tourists are the only ones who gain knowledge from an interpretive service. I sought to fill in that gap by looking at the ways the experiences of providing nature interpretation influenced interpreters’ professional practice. To accomplish this, semi-structured interviews involving 5 Ontario-based nature interpreters were conducted. Their narratives were analysed and coded using the method known as template analysis, the results of which were then used to make a comparative analysis. The results of this study indicate that there are two avenues through which nature interpreters learned from their experiences: through reflection initiated by emotions and through a realisation made from the experience. For the four participants who reported a change to their professional practice, that change came in the form of more inclusive practices being incorporated. / Thesis (Master, Education) -- Queen's University, 2014-06-20 15:06:09.83

The current human-created division between the natural and built environments has exacerbated environmental problems because nature has been designed as and, consequently, is seen as an Other to be utilized and manipulated at will. Exploring this disconnected relationship between humans and nature, as well as its origin and its effect on building occupants and the environment, is thus a necessary part of this project. The primary concern, however, centers on how we can establish a relationship with the natural environment through interior design to help foster ecological design practices and positive environmental behaviors that move beyond sustainability, resulting in a positive human-nature relation while supporting a coevolutionary perspective. Specifically, this investigation utilizes biophilic design as a solution to the division. The product is an adaptively reused structure that houses a mixed-use, multi-unit residential development, which explores the creation of human-nature connections through direct, indirect, and symbolic means.

Artistic outlets act as mechanisms with the potential to provide transformative effects on a psychological, emotional, and physical level. Unfortunately, barriers such as inequality (Erickson, 2008, p. 345) and the economic initiatives of art institutions have provoked the emergence of boundaries, hindering the opportunities and desire to engage (p. 345; Tepper, 2008, p. 363, 368). This practicum project responds to these obstructions by presenting an artistic institution that expands access to the art-form of dance by celebrating individual expression, collaboration, and cultural heritage. The Collaborative Dance Centre embraces the notion of a participatory culture and artist collective by breaking down hierarchal structures to present the general public and amateur artists with the opportunity to engage with the professional dance realm (Jenkins & Bertozzi, 2008, p. 174; Cotter, 2006, p. 21). These notions allow participants to gain exposure to the technical aspects associated with each genre, as well as the various elements of performance. By exploring experiential learning, and post-museum theory this practicum presents an interior that repositions boundaries to encourage participants to engage in experiences that are often restricted from the general public and amateur artists (Brooks-Harris & Stock-Ward, 1999, p. 122-124; Bruce, 2006, p129). The intricacies of dance have also been used to direct design development by employing the ingredients of choreography to guide design principles and elements (Humphrey, 1983, p. 46). The resulting interior connects people from diverse backgrounds through the act of dance stimulating growth, passion and transformation.

While there is much research around Latinos in higher education little is written on the experiences of Latinas alone. This thesis looks to fill that gap by analyzing the experiences of Latinas at a selective predominantly White liberal arts women’s college. This study is conducted through the personal analysis of the author’s experiences and looks to shed light on how institutions of higher education can create a better campus climate for Latinas.

The primary purpose of this study was to explore how an athlete learns from experience and how this has impacted their development in becoming capable elite international athletes. Based on the qualitative theory of phenomenology, a purposeful sampling technique was used to identify participants who were experts in the phenomena being studied. In-depth interviews were conducted with four elite level triathletes (3 female; 1 male). A thematic analysis completed for each participant revealed a number of general themes. The four central themes that pervaded across participants included Learning from a New Coaching Approach, Learning from Performance, Learning during Performance, and Seeking out Learning. Different types of learning were evident and although the central themes fit with a number of different theories and models of learning, the best fit was the network model that recognizes multiple ways of learning. The relevance of experiential learning and the role of the athlete as an active learner were also highlighted. Implications for athletes and coaches include athletes being encouraged to explore various learning methods and coaches being challenged to create an environment that optimizes an athlete’s learning opportunities.