No description available.

Thesis (M.S.)--University of Tennessee, Knoxville, 2007. / Title from title page screen (viewed on Sept. 22, 2008). Thesis advisor: Susan L. Hamilton. Vita. Includes bibliographical references.

Thesis (M.L.A.)--Ohio State University, 1995. / Includes bibliographical references (leaves 256-272). Available online via OhioLINK's ETD Center.

Thesis (M.S. in landscape architecture)--Washington State University, May 2010. / Title from PDF title page (viewed on July 12, 2010). "Department of Horticulture & Landscape Architecture." Includes bibliographical references (p. 93-95).

Thesis (M.S.)--Ohio State University, 1987. / Includes bibliographical references (leaves 138-143). Available online via OhioLINK's ETD Center

Call number: LD2668 .T4 1985 S94 / Master of Landscape Architecture

How well individuals relate or communicate with one another can make or break a project. Landscape architects and contractors appear to have a relationship which is tarnished by mistrust. This mistrust hinders communication and prevents jobs from running as smoothly as possible. Research was conducted to collect data on the relationship between landscape architects and landscape contractors. A questionnaire was designed and sent to one hundred landscape architects and contractors within the State of Arizona to gather first hand information from the involved parties. Results from the research indicated relationships have improved over the past ten years. Areas suggested for further growth: (not in any particular order of importance) (1) establishment of a joint organization, (2) internship programs for landscape architectural students, (3) specifications tailored to specific projects, (4) a referral agency for contractors, (5) revamping competitive bid system, (6) nursery visitation for both parties, (7) architects taking the leadership role in the industry.

Master of Landscape Architecture / Department of Landscape Architecture/Regional and Community Planning / Mary C. Kingery-Page / Over time the conventional design process has minimally evolved from Hideo Sasaki’s staged-design process, one of the original models of landscape architectural design process (Murphy 2005, 50; Sasaki 1950, 35). Different types of conventional design process, as it is called in this study, incorporate more stages, devoting more time to each; however, the stages are still completed in an exact order due to the focus on problem solving. The lack of encouragement for personal creative thinking through an individual creative process within the conventional design processes used today is apparent in both the profession and the education of landscape architects today. Because a creative process does not simply solve problems but encourages creative thinking throughout design, the profession would see greater generation of new ideas if landscape architects began to embrace a more creative process, as identified by Graham Wallas in the 1920s (Lawson 2006, 149-150; Herrman 1995; Goswami and Goswami 1999, 43-44). Interviews with highly creative, or avant-garde, landscape architects, such as Thomas Balsley, Claude Cormier, Mikyoung Kim and Peter Walker, and assumedly creative artists helped to provide answers to primary research questions: How does the design process of avant-garde landscape architects compare to the assumedly creative process used by artists? And how can the conventional landscape architectural design process be reframed to incorporate more creative thinking in landscape architectural practice and landscape architectural education? Using a grounded theory approach, in-depth, open-ended interviews were completed with eight subjects. Initial coding themes were based upon broad categories from literature review. Substantial coding and analysis of interviews to find the creative and conventional design processes and characteristics of creativity for each subject resulted in emergent themes and sub-themes from the interviews. Analysis matrices were developed to document commonalities and discrepancies between initial themes from literature review and emergent themes from interviews. Conclusions on findings from initial and emergent themes include:highly creative landscape architects employ non-linear, creative processes throughout design, confidence in personal creativity is imperative to creative thinking, and landscape architectural programs should allow students flexibility and creative license for developing personal design processes.