Thesis (Ph. D.)--University of Wisconsin--Madison, 1944. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 165-167).

This study seeks to examine how the conversion of grain elevators into housing is an effective method of adaptive reuse. It uses theories and concepts on heritage preservation, downtown revitalization, place theory and environmental sustainability. Based on the literature review, there is a need for change in planning policy and there are both advantages and disadvantages to adaptive reuse. The methodology and data sources include examining and analyzing planning documents, surveys for the public and professionals, and demographic data. Case studies included converted grain elevators located in Australia and Norway and also a case study in Canada for the purpose of future recommendations. These methods answer the research question of how do planning policies and the perspectives of planning professionals and the public affect the process of the adaptive reuse of grain elevators into housing? Subsequent questions include topics such as whether adaptive reuse is an effective approach to downtown revitalization, which policies impede or facilitate the process, how perspectives influence decisions, and how demographics are linked to housing availability. The significance of this study on planning practice is that it helps form policy recommendations to address the needs of the public and help improve the efficiency of adaptive reuse in the planning process. In conclusion, the public and professionals were generally in favour of this type of adaptive reuse but many had concerns about cost and gentrification. Also, more policies need to be created that address adaptive reuse specifically. For the future use of the Toronto case study I recommended that converting the grain elevator into housing is the optimal choice. The limitations of this study include data availability, non-responses for surveys, language barriers, case study locations, and time constraints.

This study seeks to examine how the conversion of grain elevators into housing is an effective method of adaptive reuse. It uses theories and concepts on heritage preservation, downtown revitalization, place theory and environmental sustainability. Based on the literature review, there is a need for change in planning policy and there are both advantages and disadvantages to adaptive reuse. The methodology and data sources include examining and analyzing planning documents, surveys for the public and professionals, and demographic data. Case studies included converted grain elevators located in Australia and Norway and also a case study in Canada for the purpose of future recommendations. These methods answer the research question of how do planning policies and the perspectives of planning professionals and the public affect the process of the adaptive reuse of grain elevators into housing? Subsequent questions include topics such as whether adaptive reuse is an effective approach to downtown revitalization, which policies impede or facilitate the process, how perspectives influence decisions, and how demographics are linked to housing availability. The significance of this study on planning practice is that it helps form policy recommendations to address the needs of the public and help improve the efficiency of adaptive reuse in the planning process. In conclusion, the public and professionals were generally in favour of this type of adaptive reuse but many had concerns about cost and gentrification. Also, more policies need to be created that address adaptive reuse specifically. For the future use of the Toronto case study I recommended that converting the grain elevator into housing is the optimal choice. The limitations of this study include data availability, non-responses for surveys, language barriers, case study locations, and time constraints.

During the nineteenth century, technological advances in grain elevator construction revolutionized bulk grain storage and handling. The mechanical elevation of grain in storage facilities was one such advancement. More importantly was the evolution in construction material from wood to reinforced concrete. Both allowed for the construction of massive grain storage facilities. Economic forces associated with the transition of agricultural production in the United States from domestic subsistence to international supplier encouraged the construction of large terminal facilities. This was particularly true in the years immediately preceding the United States' involvement in World War I. These technological advances and economic forces contributed to the development of Indianapolis as a major terminal grain center in the nation during the first half of the twentieth century. This thesis examines the history of this development, as well as, that of the reinforced concrete grain elevator in Indianapolis with a focus on three specific grain elevator facilities. / Department of Architecture

Thesis (Ph. D.)--Catholic University of America, 1922. / Vita. Facsimile edition, 1975. Bibliography: p. 150-154.

Thesis (Ph. D.)--Catholic University of America, 1922. / Vita. Facsimile edition, 1975. Bibliography: p. 150-154.

Since its foundation, Lean practices have played crucial role in reduction of wastes in a given process to maximize efficiency. Adoption of Lean practices in several industries have opened wide scope to study its impact on many fields such as agricultural sector. Post-harvest stage within agricultural supply chain is known to have gaps in terms of assuring good storage practices. The losses at post-harvest level have significantly impacted the availability of sufficient food for global population. These losses occur due to lack of compliances with good management practices. The literature of this study identifies shortfalls in the management practices of the grain storage containers in United States. The grain elevators are most common technology in use which assures the security of the raw food grains after harvest stage and right before its transfer to next stage. Adoption of good management practices by grain elevators thus becomes crucial to secure the safety of the nutritional quality of the grains which is vital to ensure food security and keep food losses low.<div><br></div><div>The thesis considers the shortfalls associated with the management practices of grain elevators and propose to adopt Lean as a solution. The outcomes of this research present a descriptive analysis of the lean readiness survey completed by the superintendents of the grain elevators in corn belt region of United States (primarily in Illinois and Indiana). The lean readiness results reveal the extent to which the elevators are ready to adopt lean practices.The research also identifies the readiness level which indicates highest as well as lowest level of readiness levels towards lean adoption. The conclusion presents the summary of final outcomes of lean readiness level based on the surveyed elevator superintendents.<br></div>

Bibliography: leaves 230-246.

This thesis examines the photographs of terminal grain elevators produced by John Vanderpant, a successful Vancouver commercial photographer who also produced images that were consciously positioned within a high art discourse. Vanderpant turned to the grain elevator as subject matter in response to the remarks of an unidentified English critic who, while praising the images in a 1925 London exhibition of Vanderpant's work, noted they lacked an identifiably Canadian character. In taking up the grain elevator, Vanderpant positioned his work within the national visual culture constructed around the work of the Group of Seven. He also tapped into symbolic meanings which resonated around the elevator's modern functional architecture, an architecture which has been held up by Le Corbusier as a specifically North American expression of the engineer's rigor and purpose. In the midst of the prosperity enjoyed by Vancouver's urban bourgeoisie during the mid-1920s, the terminal elevators operating on Burrard Inlet embodied the promise of abundance held out by an increasingly centralized and modernized resource economy. Vanderpant's earliest elevator photographs employed the stylistics of Pictorialism, a genre of photography that relied on soft focus and hazy atmospheric effect to suggest a painterly surface. In response to the tension between his formal vocabulary and the modernity of his subject matter, Vanderpant rejected Pictorialism as a mode of representation that "travelled by horsecart midst the progress of motor power on wheel and wing." Throughout the 1930s he worked within a modernist idiom that emphasized what were seen to be the intrinsic properties of photographic technology: sharp focus, clearly delineated form, and tilted perspective. His modernist elevator photographs verged on geometric abstraction, in an attempt to penetrate "superficial appearance" and reveal the underlying "strength and sublime simplicity" of the elevator's structure. Combining an interest in mysticism and a Kantian understanding of aesthetic experience, Vanderpant accessed a version of modernism that held onto an optimistic, Utopian vision in the face of the social fragmentation of the Depression. My thesis addresses the position of Vanderpant's elevator photographs, and the shift in his aesthetic vocabulary marked out by these works, in relation to the construction of a national movement in Canadian visual art and an historical context in which the state and capital were employing specific measures to unify and transform a fractured social body. I argue that, within this context, Vanderpant's project was fragile and contradictory. Despite the antimaterialism he articulated as the Depression advanced, the ideological force of Vanderpant's Utopian vision would seem to have been aligned with the forms of modern scientific discipline, such as Taylorism, that promised Utopia through success in production while naturalizing dominative social relations.

This thesis examines the photographs of terminal grain elevators produced by John Vanderpant, a successful Vancouver commercial photographer who also produced images that were consciously positioned within a high art discourse. Vanderpant turned to the grain elevator as subject matter in response to the remarks of an unidentified English critic who, while praising the images in a 1925 London exhibition of Vanderpant's work, noted they lacked an identifiably Canadian character. In taking up the grain elevator, Vanderpant positioned his work within the national visual culture constructed around the work of the Group of Seven. He also tapped into symbolic meanings which resonated around the elevator's modern functional architecture, an architecture which has been held up by Le Corbusier as a specifically North American expression of the engineer's rigor and purpose. In the midst of the prosperity enjoyed by Vancouver's urban bourgeoisie during the mid-1920s, the terminal elevators operating on Burrard Inlet embodied the promise of abundance held out by an increasingly centralized and modernized resource economy. Vanderpant's earliest elevator photographs employed the stylistics of Pictorialism, a genre of photography that relied on soft focus and hazy atmospheric effect to suggest a painterly surface. In response to the tension between his formal vocabulary and the modernity of his subject matter, Vanderpant rejected Pictorialism as a mode of representation that "travelled by horsecart midst the progress of motor power on wheel and wing." Throughout the 1930s he worked within a modernist idiom that emphasized what were seen to be the intrinsic properties of photographic technology: sharp focus, clearly delineated form, and tilted perspective. His modernist elevator photographs verged on geometric abstraction, in an attempt to penetrate "superficial appearance" and reveal the underlying "strength and sublime simplicity" of the elevator's structure. Combining an interest in mysticism and a Kantian understanding of aesthetic experience, Vanderpant accessed a version of modernism that held onto an optimistic, Utopian vision in the face of the social fragmentation of the Depression. My thesis addresses the position of Vanderpant's elevator photographs, and the shift in his aesthetic vocabulary marked out by these works, in relation to the construction of a national movement in Canadian visual art and an historical context in which the state and capital were employing specific measures to unify and transform a fractured social body. I argue that, within this context, Vanderpant's project was fragile and contradictory. Despite the antimaterialism he articulated as the Depression advanced, the ideological force of Vanderpant's Utopian vision would seem to have been aligned with the forms of modern scientific discipline, such as Taylorism, that promised Utopia through success in production while naturalizing dominative social relations. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate