Thesis--University of Wisconsin--Madison. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 250-25l).

Thesis. 1978. M.S.--Massachusetts Institute of Technology. Dept. of Architecture. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: leaves 38-39. / by Christopher D. Janney. / M.S.

This thesis examines the mechanisms of site-specific installation in photography, drawing on contemporary architectural debates around relationships between image and space, as well as debates in fine art around participatory practices involving installation. The project has involved a synthesis of practical research, through the production of artwork, throughout the research period. I consider the outcomes of writing, photographing and photographic installation to be at parity with one another, in the spirit of what Jane Rendell calls 'critical spatial practice'. The focus and physical context for this inquiry is the former Lilian Baylis School, built in 1964 by the Architects' Co-Partnership (ACP) for the London County Council in the Borough of Lambeth. It served its function as a school up until 2005 after which it was used for community programmes. In 2011 the site, by then Grade II listed, was restored and converted into new flats. The concept of visual memory serves as a theoretical basis of my project. I take up architect Aldo Rossi's idea of acting as a way of tracing a process of transformation, and also using these traces as a form of site-specific intervention, as an action in relation to this transformation. These aspects of transformation inform the work of making visible the memory of a place through photography and its spatial installation, engaging viewers in this process.

The environmental impact of human behaviour on the design, construction and operation of buildings is often overlooked, frequently resulting in sub optimal performance over the lifecycle of the building (credibility gap and value-action gap). An over-reliance on technological and market solutions (false positivity) throughout the design, construction and operation of sustainable buildings means changing user behaviour is not currently envisaged by all but the most sustainability-minded built environment professionals. This study aims to develop an understanding of the dynamic and complex systems by which responsible environmental, social and economic action (sustainable behaviour) emerges from the relationship between people and the built environment. The primary research question asks to what extent sustainable buildings encourage sustainable behaviour, with broader research objectives covering the need for sustainable buildings and their social, environmental and economic benefits; a clear definition of sustainable behaviour and sustainable buildings; identifying opportunities for behavioural change from current best practice and how behavioural change theory can be applied to the built environment to encourage and optimise sustainable behaviour. Literature review reveals existing theory and practice in the fields of sustainability, architecture, behavioural psychology and pedagogy applied generally to the design, construction and operation of sustainable buildings. Five exemplar sustainable buildings with pedagogical functions are also investigated. The primary empirical research methodology uses grounded theory, ethnography and phenomenology through interview and survey data analysis, highlighting common best practices and innovative approaches, as well as revealing barriers to achieving sustainable built environments that encourage sustainable behaviour. The research reveals that there are numerous opportunities for behavioural interventions at critical stages throughout the lifecycle of buildings where ‘value-action’ gaps between our intentions to be more sustainable and our often sub-optimal actions or behaviours are identified. Strategies includes education, information provision, training, experiential learning, feedback, participation and regulation. The research contributes original knowledge by relating the way building mechanisms for change can be understood through the lens of behavioural psychology and the synthesis of the three disciplines of sustainability, architecture and pedagogy.

This thesis contributes to a growing literature on identity and the home. The study's findings enrich understandings of the way people organize the material culture of their homes, and the way objects and practices are drawn into their self-storying. The study reveals the agency in homemaking as a creative practice and highlights the particularity of homemaking experience. It expands the context for understanding the creative work of designing and producing the contemporary home. Home is a key site of intensive consumption and emotional investment in identity. Possessions in the home and in our interactions with them are integral to our experience and construction of who we are in the world. We make our interior landscape visible to ourselves and onlookers through our choice of objects, arrangements and practices. And yet insight into the lived experience of everyday homemaking is elusive. This calls for empirical research to engage directly with the subjective world of individuals. My thesis examines an archive of rich experiential data gathered in informal conversations conducted with homemakers in twenty-five middle-class London homes. Their narrations of subjective experience have been used to explore how people think and feel about their homes, and how and why they arrange certain things in certain ways within those homes. Identity is understood as a storied accomplishment and homemaking is formulated as a means of organizning experience. Material is part of self-representation and is regarded as a narrative resource. A reading of narratives and images in the light of this conceptualisation reveals the meaning in the object and the object in narrative. The theses demonstrates the endeavour of homemaking as a form of creative production that is empowered by individual agency and fuelled by storying interaction.

Thesis (M.S.V.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1979. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Bibliography: p. 65. / by Michael Naimark. / M.S.V.S.

The purpose of this creative project was to further the development of the artist's personal style. Also to produce an exhibition of sculpture that relate to each other through common themes and techniques. The exhibition would become a unique environment for the viewer.The artist used steel as a medium in the creation of his sculptures. Various types of steel where cut, forged, welded, and fabricated in order to produce and extend the vocabulary of the sculptures. Steel was used experimentally with line, texture, and bright color. The exhibited works were successful because they concentrated on abstract designs that resembled animal or personages with gestural and emotional content. The artist's exhibition displayed a direction of style that is distinctive. The style has a complexity within its asymmetrical design that simplifies gestural and emotional content. From this work the artist has drawn conclusions about found objects and constructivism. He will utilize this working knowledge in future projects. / Department of Art

Thesis (M.F.A.)--Rochester Institute of Technology, 1995. / Typescript. Includes bibliographical references (leaves [33]-[34]).

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Vita. Includes bibliographical references (leaves 249-267). Available also in a digital version from Dissertation Abstracts.

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Richard Shiff. Vita. Includes bibliographical references. Also available from UMI.