Thesis (M.S.)--University of Michigan, 1990.

Thesis (M.S.)--University of Michigan, 2006. / Includes bibliographical references (leaves 86-93).

Thesis (M.S.)--West Virginia University, 2010. / Title from document title page. Document formatted into pages; contains x, 107 p. : ill. (some col.). Vita. Includes abstract. Includes bibliographical references (p. 87-96).

Master of Science / Department of Architectural Engineering and Construction Science / Kimberly W. Kramer / Prior to the Age of Enlightenment, arches were designed by empirical rules based off of previous successes or failures. The Age of Enlightenment brought about the emergence of statics and mechanics, which scholars promptly applied to masonry arch analysis and design. Masonry was assumed to be infinitely strong, so the scholars concerned themselves mainly with arch stability. Early Age of Enlightenment scholars defined the path of the compression force in the arch, or the shape of the true arch, as a catenary, while most scholars studying arches used statics with some mechanics to idealize the behavior of arches. These scholars can be broken into two categories, those who neglected friction and those who included it. The scholars of the first half of the 18th century understood the presence of friction, but it was not able to be quantified until the second half of the century. The advancements made during the Age of Enlightenment were the foundation for structural engineering as it is known today. The statics and mechanics used by the 17th and 18th century scholars are the same used by structural engineers today with changes only in the assumptions made in order to idealize an arch. While some assumptions have proved to be incorrect, many correctly interpreted behavior and were able to formulate equations for design and analysis that were successfully used to create arches that were structurally sound and more efficient than arches designed by empirical methods. This insight into design during the 18th and 19th centuries can help modern engineers better analyze and restore arches from this era and protect our architectural and engineering history.

Thesis (M.S.)--Massachusetts Institute of Technology, Dept. of Architecture, 1990. / Includes bibliographical references (leaves 131-134). / by Xiang Chen. / M.S.

Introduction: In order to properly diagnose and treatment plan, an orthodontist needs to be knowledgeable about the changes that occur to the maxillary and mandibular dental arches throughout growth. The purpose of this study is to provide an analysis of morphological shape differences seen in the maxillary and mandibular dental arches individually, as well as together, from birth to 3 years of age. Methods: Dental casts from the Iowa Infant Growth study ranging from 2 months to age 4 were photographed in the occlusal plane. The images were landmarked with 3 standard landmarks and 10 sliding semi-landmarks along the curvature of the maxillary and mandibular arches. TpsRelW was used to slide the semi-landmarks and superimpose the date to facilitate shape analysis. MorphoJ was used to determine the degree to which size influences dental arch shape. Once the effects of allometry had been removed, a principal component analysis was run on the residuals to display major features of shape variation in the dataset. Finally, a two block partial least squares analysis was run to determine the degree to which the maxillary and mandibular arches were integrated throughout early growth. Results: Allometry accounts for 9.63% of symmetric shape variation in the maxilla, while it accounts for 56% of symmetric shape variation in the mandible. Asymmetric shape variation is independent of allometry as it only affects 0.34% of the maxillary and 1.46% of the mandibular shape variation. Principal component one accounts for over 60% of all shape variation seen in maxillary and mandibular residuals. Principal component one of symmetric residuals results in a longer, wider dental arch or a shorter, narrower one. Principal component one of asymmetric residuals results in a dental arch with one posterior side being longer and wider while the contralateral side is shorter and narrower. The first three time points (2 months- 1 year) do not display significant integration between the maxillary and mandibular arches. Integration increases with age, displaying significant integration at the last three time points, with the most integration being displayed at 2.5 years. Conclusions: Allometry affects some of the symmetric shape variation in the maxilla, but over half of the symmetric shape variation in the mandible. The asymmetric components are independent of allometry. Integration of the maxillary and mandibular arches increase with age from 2 months to 3 years, peaking at a time point of 2.5 years.

Thesis (B.S.)--University of Missouri, School of Mines and Metallurgy, 1899. / The entire thesis text is included in file. Typescript. Title from title screen of thesis/dissertation PDF file (viewed November 20, 2008)

Thèses (M.Sc.)--Université de Sherbrooke (Canada), 2004. / Titre de l'écran-titre (visionné le 20 juin 2006). Publié aussi en version papier.

Orientador: Francisco Antônio Bertoz / Banca: Eduardo César Almada Santos / Banca: Marcos Rogério de Mendonça / Banca: Terumi Okada Ozawa / Banca: Daniela Gamba Garib / Resumo: Introdução: O objetivo do presente estudo clínico foi avaliar as dimensões transversais do arco dentário inferior com o uso da placa lábio-ativa aberta e fixa associada à extensão lingual de canino decíduo a primeiro molar permanente. Métodos: A amostra constou de 14 pacientes no estágio de dentadura mista e com idade média de oito anos e seis meses. Todos os pacientes realizaram expansão rápida da maxila e expansão lenta do arco inferior com a placa lábio-ativa. Modelos de gesso foram obtidos nas fases de pré-tratamento e pós-tratamento e digitalizados com auxílio do scanner 3Shape R700 3D (3Shape A/S, Copenhagen, Dinamarca). Medições transversais foram realizadas para as distâncias entre as pontas de cúspide dos caninos decíduos, pontas de cúspide mesiovestibulares dos molares decíduos e primeiro molar permanente e pontos médio cervical da face vestibular. O teste t foi utilizado para determinar se o aumento nas larguras transversais foi significativo. Resultados: Observou-se um aumento transversal estatisticamente significativo (p<0,05) que variou de 4,11mm a 4,51mm nos referenciais utilizados no nível das pontas de cúspide. Conclusão: A placa lábio-ativa aberta e fixa apresentou um efeito transversal significativo em aproximadamente seis meses de tratamento / Abstract: Introduction: The aim of the current clinical study was to evaluate the transverse dimensions of the lower dental arch with the use of the fixed and expanded lip bumper associated to the lingual extension from the deciduous canine to the permanent first molar. Methods: The sample was comprised of 14 patients in the mixed dentition with a mean age of 8 years 6 months. All patients were submitted to rapid palatal expansion and dentolaveolar expansion of the lower dental arch with a lip bumper. Pre-teatment and post-treatment cast models were obtained and digitized with the 3Shape R700 3D (3Shape A/S, Copenhagen, Denmark) scanner. Transverse distances between the cusp tips of the canines, the mesial buccal cusps of the deciduous molars and of the permanent first molars and between the cervical middle points of the buccal aspects of these teeth were measured. The t tests were performed to determine whether an increase in transverse distances was significant. Results: A statistically significant transverse increase (p<0,05) ranging from 4.11 mm to 4.51 mm was observed in the cusp tips. Conclusion: The fixed and expanded lip bumper presented a significant transverse effect within approximately 6 months of treatment / Doutor

The thesis begins with an analysis of the Victorian Era architectural style through the single-family residence and translates certain design elements into a contemporary architectural climate. It is my personal view that modern residential architecture does not have the same level of visual intrigue as the homes from the Modernist movement from the 1900s, particularly in light of Postmodern architecture from the 1970s to now. I set out with the intention of creating a spatially and formally interesting residential home design which strikes a balance between the pre-modern period of dense ornamentation and more modern minimalist approaches to design. Modern architecture, which began as early as the 1900s and gained major traction in the 1940s and 50s following the end of World War II, focuses on the massing, rather than the detail, of a building. In Modernist homes, the interior experience and exterior experience are not congruent. While this creates a clean and uncluttered atmosphere, both inside and out, the end product may become sterilized to the point that it looks as though it is not meant for the intended inhabitants. As a continuation of this modern approach, contemporary architecture may focus aesthetic ideals on the exterior of the building, but the implied complexity of the design and intended experience of a space within is not carried throughout the building and into the interior spaces. Victorian design ideals, on the other hand, attempt to evoke personified elements, which appeal to the viewer and are much more tailored to the human scale and experience. Victorian design is highly detail-oriented and routinely references the human scale. Attention to decoration is put into fine detail, often with natural or anthropomorphic qualities. Victorian architecture is colorful and purposeful, with outside facades pulling together context clues and informing the viewer of interior spaces. It uses color palettes that might be seen as unorthodox by other designers. However, these houses employed color to bring out detail and design in the facade, becoming enhanced by the color variety and their effective application. They are full of character and interest, inside and out. These buildings also use elaborate woodwork designs to add unique visual flair. This added uniqueness makes these homes more personable, reflecting personal tastes and expression. While the façade and each room can be entirely unique with its purpose and experience, there is an underlying design vocabulary that acts as a foundation for each space and ensures cohesion with the interior and exterior. As residential home design has evolved from American Colonial, to Neoclassical, to Victorian, to Craftsman, the Modernist Movement marked the separation point in architecture design in the 1930s and 40s. This movement, led by Walter Gropius and Le Corbusier, were the spark that changed architecture for all types of construction.[1] This style also would have a profound effect on residential design, and it was not until the 1930s when the modern age of home design manifested. Since the era of Gropius and the Bauhaus movement, home design has become stagnant in some areas. Designers have adhered to 1920s Modernist philosophy for so long, it feels as if it has plateaued. It is my perspective that contemporary residential designs now have a cookie cutter quality. There is little differentiation between individual expression of modern home design. In addition, there are certain visual aspects of modern design that imply a complex interior that are not carried through to the interior. Similar to the false fronts of the 1860s, contrasting material choices, greater accentuation and detail were selectively used in the front of the building but are missing on the other sides of the exterior. This can be related to the false front buildings. These false fronts first appeared in 1849 following the California Gold Rush. They were used by merchants to make their shops and buildings look larger and more important as opposed to their simple shed and gable roof buildings.[2] This concept of putting more effort into the experience of the front of a building continues to be used today. Designers put this effort into the front façade because it is the first thing people will see when experiencing a house or building and here it is possible to make a good first impression. This also results in the other sides of a home receiving less attention and feeling less important than the front. In modern home design the detail might still be emphasized on the front but is much more subdued as without overt ornamentation the distinction between each side and whether or not it is the “front” can be difficult to tell. In the modern era of home design, the open floor plan reigns supreme. Materials and mechanical systems have advanced focusing on energy retention and economically efficient properties. However, one major area where home design has fallen stagnant has to do with individual room identity. While the open floor plan can be pleasant and convenient, it inevitably results in rooms that are connected but have less inherent identity. In Victorian homes, rooms are separated from one another, and each of these spaces has distinction and purpose. After completing this research on the relative differences between Victorian, Modernist, and contemporary residential approaches, I applied these findings to a design project. The goal of this exercise was to design a contemporary single-family home that incorporates the Victorian aesthetic, with a blend of modern and Victorian characteristics throughout. I incorporated energy efficient and environmentally friendly materials, to bring the image and ideals of Victorian Era design into the present environmental moment. In keeping with the needs and desires of families in the US residential market, this design offers a refreshing refinery of Victorian style fit for modern day living. Upon finishing the research and design phases, I developed a set of findings intended to assist other designers with the application of Victorian design principles to contemporary use. These recommendations might be applied to a dwelling or a room, or any design project in which the balance of contemporary needs, and design aesthetics, are in play. [1] Walker, Lester. American Shelter. Overlook Press, 1981. [2] Walker, Lester. American Shelter. Overlook Press, 1981.