Media Architecture design, although visually prominent and involving interdisciplinary collaboration, rarely succeeds in creating urban situations of contextual relevance beyond temporary effects. This research understands Media Architecture as a communication medium and proposes the need to engage with its multi-stakeholder audience from early on in the conceptual design stage. This practice-led design research presents a broad critical investigation into the emerging field of Media Architecture (Jaschko & Sauter 2006; Foth 2008; Haeusler 2009) spanning conceptions of media space, experience, participation and design as discourse (Scollon & Scollon 2003; Fatah gen. Schieck 2006). Its findings contribute a new perspective on Media Architecture as experiential visual design process, based on an analysis of design methods, principles of participatory design and reflection, as well as an overview and classification of Media Architecture practice. Following a related literature review, the thesis identified experiential learning and the notion of troublesome knowledge (Meyer & Land 2003; Perkins 1999) as a distinguishable new perspective on design for Media Architecture. By connecting exploratory and generative design research tools (i.e., interviews, collaborative expert workshops, visual prototyping) with theoretical constructs of learning theory (Schön 1983; Kolb 1983), experience (McCarthy & Wright 2004) and ownership in urban design (McDonnell 2009; Townsend 2013; Lange & Waal 2013), this thesis developed an experimental design methodology for stakeholder involvement in Media Architecture. An iterative review and reflection process led to methods evolving from initial research tools for analysis to self-reflective design process outcomes. The findings of this study were used to create the Media Architecture Archive (MAA), a digital participatory database using a comprehensive classification system of Media Architecture practice. It is complemented by an experiential method framework based on visual design for contextual research, envisioning and prototyping in Media Architecture. Thus, the research contributes a novel approach to visual communication in Media Architecture, by applying visual design to encourage stakeholder involvement, discourse and reflection at early stages in the design process. The self-reflective structure of the study contributes to our knowledge of how practice-led learning processes applied through visual communication can serve as an extension of the Media Architecture experience as both process and outcome.

This thesis primarily deals with the adaptation of a theory from one context and its application in another context. In this case the "building systems integration theory" which has been introduced in the context of buildings, in the book Building Systems Integration Handbook (Rush, 1986), is adapted to the context of architectural organizations. The hypothesis of this research is that "building system integration principles can be applied to architectural business organizations." Building system integration theory defines four fundamental systems within buildings and five levels of integration ranging from unified to remote. It further defines an abstract two dimensional diagrammatic language that is referred to as a "ball diagram" for portraying the system integration within a building. Using the building system as an analogue to organizational structure, I have redefined the five levels of integration in the vocabulary of an organization and formulated seven systems in an organization on the basis of my literature review. I surveyed five prominent architectural firms in Texas (three Matrix organizations, and two Studio organizations) and discussed their project handling methods with their principals in charge, with the intention of investigating the degree of contact between personnel, their meeting patterns, and the reporting structure. This has helped me to identify the levels of integration between systems in each organization and eventually represent the working process of these firms using the diagrammatic language introduced in BSIH. The resulting diagrams, which primarily represent the production/ delivery segment of the organizations, reveal organizational structures during the project cycle as well as certain characteristics of a Matrix or Studio. Due to the limited scope of the survey done initially, some shortcomings were noticed in the diagramming method including the absence of any representation of the client and the user in the diagrams. Despite certain shortcomings owing to the scale of the investigation, it is felt that the diagramming method portrayed here is a novel yet effective idea to represent organizations and the levels of integration between systems in an organization that contributes to the production of a cohesive organizational design theory.

<p>In this thesis, a study of the rational design and fabrication of microfluidic systems for microsphere generation is presented. The required function of microfluidic systems is to produce microspheres with the following attributes: (i) the microsphere size being around one micron or less, (ii) the size uniformity (in particular coefficient of variation (CV)) being less than 5%, and (iii) the size range being adjustable as widely as possible.</p> <p>Micro-electro-mechanical system (MEMS) technology, largely referring to various micro-fabrication techniques in the context of this thesis, has been applied for decades to develop microfluidic systems that can fulfill the foregoing required function of microsphere generation; however, this goal has yet to be achieved. To change this situation was a motivation of the study presented in this thesis.</p> <p>The philosophy behind this study stands on combining an effective design theory and methodology called Axiomatic Design Theory (ADT) with advanced micro-fabrication techniques for the microfluidic systems development. Both theoretical developments and experimental validations were carried out in this study. Consequently, the study has led to the following conclusions: (i) Existing micro-fluidic systems are coupled designs according to ADT, which is responsible for a limited achievement of the required function; (ii) Existing micro-fabrication techniques, especially for pattern transfer, have difficulty in producing a typical feature of micro-fluidic systems - that is, a large overall size (~ mm) of the device but a small channel size (~nm); and (iii) Contemporary micro-fabrication techniques to the silicon-based microfluidic system may have reached a size limit for microspheres, i.e., ~1 micron.</p> <p>Through this study, the following contributions to the field of the microfluidic system technology have been made: (i) Producing three rational designs of microfluidic systems, device 1 (perforated silicon membrane), device 2 (integration of hydrodynamic flow focusing and crossflow principles), and device 3 (liquid chopper using a piezoelectric actuator), with each having a distinct advantage over the others and together having achieved the requirements, size uniformity (CV ⤠5%) and size controllability (1-186 &#x00B5;m); (ii) Proposing a new pattern transfer technique which combines a photolithography process with a direct writing lithography process (e.g., focused ion beam process); (iii) Proposing a decoupled design principle for micro-fluidic systems, which is effective in improving microfluidic systems for microsphere generation and is likely applicable to microfluidic systems for other applications; and (iv) Developing the mathematical models for the foregoing three devices, which can be used to further optimize the design and the microsphere generation process.</p>

<p>In this thesis, a study of the rational design and fabrication of microfluidic systems for microsphere generation is presented. The required function of microfluidic systems is to produce microspheres with the following attributes: (i) the microsphere size being around one micron or less, (ii) the size uniformity (in particular coefficient of variation (CV)) being less than 5%, and (iii) the size range being adjustable as widely as possible.</p> <p>Micro-electro-mechanical system (MEMS) technology, largely referring to various micro-fabrication techniques in the context of this thesis, has been applied for decades to develop microfluidic systems that can fulfill the foregoing required function of microsphere generation; however, this goal has yet to be achieved. To change this situation was a motivation of the study presented in this thesis.</p> <p>The philosophy behind this study stands on combining an effective design theory and methodology called Axiomatic Design Theory (ADT) with advanced micro-fabrication techniques for the microfluidic systems development. Both theoretical developments and experimental validations were carried out in this study. Consequently, the study has led to the following conclusions: (i) Existing micro-fluidic systems are coupled designs according to ADT, which is responsible for a limited achievement of the required function; (ii) Existing micro-fabrication techniques, especially for pattern transfer, have difficulty in producing a typical feature of micro-fluidic systems - that is, a large overall size (~ mm) of the device but a small channel size (~nm); and (iii) Contemporary micro-fabrication techniques to the silicon-based microfluidic system may have reached a size limit for microspheres, i.e., ~1 micron.</p> <p>Through this study, the following contributions to the field of the microfluidic system technology have been made: (i) Producing three rational designs of microfluidic systems, device 1 (perforated silicon membrane), device 2 (integration of hydrodynamic flow focusing and crossflow principles), and device 3 (liquid chopper using a piezoelectric actuator), with each having a distinct advantage over the others and together having achieved the requirements, size uniformity (CV ⤠5%) and size controllability (1-186 &#x00B5;m); (ii) Proposing a new pattern transfer technique which combines a photolithography process with a direct writing lithography process (e.g., focused ion beam process); (iii) Proposing a decoupled design principle for micro-fluidic systems, which is effective in improving microfluidic systems for microsphere generation and is likely applicable to microfluidic systems for other applications; and (iv) Developing the mathematical models for the foregoing three devices, which can be used to further optimize the design and the microsphere generation process.</p>

This thesis primarily deals with the adaptation of a theory from one context and its application in another context. In this case the "building systems integration theory" which has been introduced in the context of buildings, in the book Building Systems Integration Handbook (Rush, 1986), is adapted to the context of architectural organizations. The hypothesis of this research is that "building system integration principles can be applied to architectural business organizations." Building system integration theory defines four fundamental systems within buildings and five levels of integration ranging from unified to remote. It further defines an abstract two dimensional diagrammatic language that is referred to as a "ball diagram" for portraying the system integration within a building. Using the building system as an analogue to organizational structure, I have redefined the five levels of integration in the vocabulary of an organization and formulated seven systems in an organization on the basis of my literature review. I surveyed five prominent architectural firms in Texas (three Matrix organizations, and two Studio organizations) and discussed their project handling methods with their principals in charge, with the intention of investigating the degree of contact between personnel, their meeting patterns, and the reporting structure. This has helped me to identify the levels of integration between systems in each organization and eventually represent the working process of these firms using the diagrammatic language introduced in BSIH. The resulting diagrams, which primarily represent the production/ delivery segment of the organizations, reveal organizational structures during the project cycle as well as certain characteristics of a Matrix or Studio. Due to the limited scope of the survey done initially, some shortcomings were noticed in the diagramming method including the absence of any representation of the client and the user in the diagrams. Despite certain shortcomings owing to the scale of the investigation, it is felt that the diagramming method portrayed here is a novel yet effective idea to represent organizations and the levels of integration between systems in an organization that contributes to the production of a cohesive organizational design theory.

The research is developed through sculptural artworks that seek to raise the question of their being. They do this through their indeterminate presence, which often awakens people to ask ‘What is it?’ I ask how sculpture can encourage people to wonder about what things are, and how the relationship/s we form with art can then lead us to reflect upon our other more worldly relationships. I also pursue the questions of what is sculpture, and what is contemporary art, in order to map out an understanding of the domain of my practice, and the issues at stake regarding the making and display of sculpture. Through a reading of the ideas of Martin Heidegger and other Continental philosophers, I have focused upon the way our (Modern Western) relationship with things in the world is problematic, and how art can help us to address some of these problems. It is through art’s poetic ambiguities that our usual determined and closed relationship with the world can be opened up to other readings. An investigation into contemporary art practices reveals several issues that put the artwork into context and shed light upon difficulties facing contemporary artists particularly in terms of: what am I to do, why should I do it and how should I proceed? My artworks are aimed at raising questions for the viewer about being, sculpture and contemporary art. I have developed the coopering technique of wooden construction to make unusually shaped wooden container-like sculptures. I have also investigated other semi-industrial working methods to construct sculptural objects that oscillate between various possibilities for the viewer. These artworks operate in the field between the familiar/unfamiliar, functional/non-functional and the known/unknown. They resist the viewer’s efforts at stilling the oscillation between possible readings and evade some of the common roles of contemporary art such as being a site for social and political dialogue or being a reflection of contemporary/pop/consumer culture. This project contributes to the dialogue already in play between several Post-Minimal sculptors whose work touches upon constructed and or manufactured ambiguous forms. It further develops the language of how to discuss these issues through my philosophical readings. It extends the coopering technique beyond the simple cask form to discover the technical possibilities for this method of construction. It brings to the gallery visitor an actual experience of what Heidegger writes about art, particularly in terms of his ideas about ‘the truth of being as revealing/concealing’. The research also develops our understanding of the nature of contemporary art through questioning several aspects of it and through adopting outmoded and laborious methods of making that are at odds with our digital age. The artworks are the result of working toward a position of indeterminacy that is alluring, by partially resisting the viewer’s efforts to know them.

Communication is a challenge in multidisciplinary building design teams. The multidisciplinary nature of the team, in which team members contribute knowledge and skills from within the boundaries of their disciplinary domain, combined with the fragmented building design process, makes exchanging information among disciplines difficult. Addressing this challenge is important because communication impacts project outcomes. While effective communication mitigates project risk, contributes to conflict resolution, and reduces project waste and errors, ineffective communication contributes to project failure. Existing research on communication and teamwork provides us with two key insights: first, the presence of different disciplines – the functional diversity – on a team can lead to both positive and negative outcomes through different communication processes; then, communication in design includes three categories – communication as social behavior, as an information process, and the use of communication technology. However, this research comes from domains such as healthcare, manufacturing, and software design. As such, there are several gaps that limit our understanding of multidisciplinary building design communication: a. As literature on multidisciplinary building design teams is sparse, we do not have sufficient documented information about multidisciplinary building design practice to the extent that we use the terms multidisciplinary and interdisciplinary interchangeably although they indicate different kinds of team functioning. b. There are no approaches to studying communication in building design teams that account for the multidisciplinary nature of the team and the complexity of design communication. Identifying an approach to studying communication is a first step to improving team communication and project outcomes. c. Though it is acknowledged that functional boundaries in a multidisciplinary team influence team functioning, the lack of literature on multidisciplinary building design teams and the lack of an approach to studying team communication means that we do not know how functional diversity affects team communication and outcomes. My research contributes to our understanding of multidisciplinary building design team practice by developing a framework to explore multidisciplinary building design communication. Then, it applies the framework to three cases of multidisciplinary building design teams to explore the effects of functional diversity on building design team communication and outcomes. The exploratory framework allows for the systematic description and analysis of multidisciplinary building design teams, their communication, and their outcomes. When applied to the three cases, multidisciplinary building design practice is explored along three lines of inquiry: What constitutes a multidisciplinary building design team? How do multidisciplinary building design teams exchange information? And, what are multidisciplinary building design team outcomes? Data for the case studies are obtained from interviews of 32 industry experts spanning 13 disciplines across the three case studies. This data is analyzed using content analysis and a communication analysis approach that accounts for all three categories of communication. Findings from the case studies do the following: they posit a relationship between functional diversity, communication, and outcomes that is dependent not only on team characteristics, but also on project characteristics and timing; they offer modifications to the exploratory framework that allow for a more accurate representation of building design practice; and provide strategies used by team members to deal with the challenges and complexities of multidisciplinary building design communication. These contributions – the framework and the case study insights – provide building design researchers and practitioners with insights into building design teams, their communication, and their outcomes. They are intended to be a necessary first step towards improving building design team practice.

The thesis is a detailed study of the changing middle class home in contemporary Sri Lanka. It examines whether and how the interaction of spatial boundaries and embodied meanings have changed as a consequence of current social change. Results suggests that the middle class home in Sri Lanka has transformed from a 'pre-open economy4 model and stabilised into a new a 'post-open economy model', after the free-trade regime was introduced in 1977. Quantitative analysis of forty house plans investigated through space - syntax and statistical tools suggested that configurations, thresholds, positions and vistas of space have been organised and controlled to create generic spatial patterns in two alternative models, corresponding to pre and post open economy periods. Qualitative analysis through accounts of home lives by women that the 'pre-open economy model' was first socially constructed during the British Colonial Period (BCP), which embodied behaviours of a strongly institutionalised home life. A 'lifestyle' constructed within Victorian ideals with a strong emphasis on power structures of the institution of the family was embodied in the spatial classification of the BCP home. Quantitative analysis also suggested that the 'pre-open economy' spatial classification has transformed and stabilised into an alternative model in recent years as a 'post-open economy' model. Published records in Sri Lanka suggests that indicators of social change that affect gender issues such as roles and position of women, decline in domestic services, transformation of family structures, merging of conjugal roles and distancing from the neighbourhood as a community, are global phenomena, known to change during urbanisation in other contexts, for example during industrialisation and in the post-war periods in the UK society. Interestingly, such global phenomena have acquired spatial forms, which are conditional to the socio-historical structures in which the Sri Lankan middle class evolved. Qualitative analysis of accounts of home lives by women living from the post-open economy period revealed a 'user oriented lifestyle' and social boundaries between categories of users such as the family, visitor and outsiders have acquired novel forms of inclusion and exclusion. Thus, the synthesis of quantitative analysis and qualitative analysis suggest that changing spatial organisation relates to new forms of social solidarity seen to be consequential to larger social changes effected by the open-economy.

Much of the available literature on the impact of the architecture of museums of modern art has centred upon the 'spectacularity' of such structures and the regeneration effect on sites and/or cities triggered by their presence, often highlighting their agency in promoting mass tourist activity. However, apart from these widely debated facts, more complex circumstances regarding major shifts in the socio-cultural and political arenas may have influenced the identity, conception, design and implementation of these architectural structures within cityscapes and urban fabrics - circumstances which are often overlooked. Considering this complex contextual frameset, this work concentrates on a specific period of time, indicating the substantial renovation cities have been through since the industrialisation-boom of the 1950s, and ponders the relation between these physical and symbolic transformations and the consequences of this 'modernisation' process in the social-cultural panorama. Albeit assumed as a preponderant factor in cities' 'modernising' policies, this research does not aim to map the most significant or to construct a historiography of modern art museums. The objective is to discuss whether this 'modernisation' process is related to the transformations in the scope, form, function and identity of modern art museums in the last 60 years or so, highlighting the implications of the phenomenon that glorifies these architectural structures per se. But to what extent, or in what sense, has the set of socio-cultural transformations seen since the 1950s conceptually/concretely affected the architecture of museums of modern art? How did this particularly elitist building type emerge as such powerful element in both politico-economic and socio-cultural terms, becoming a major agent in transforming cities' identities since the 1990s? The Museu de Arte Moderna, Rio de Janeiro (Affonso Eduardo Reidy, 1953-1967); the Centre de Culture et d'Art Georges Pompidou, Paris (Renzo Piano & Richard Rogers Architects, 1970-1977) and the TATE Modern, London (Jacques Herzog & Pierre de Meuron, 1994-2000) were selected to illustrate these transformations. In fact, this work discusses these museums' relevance as architectural objects ; analyses whether they have contributed (or not) to set up a new agenda for modern art museums; and investigates if these (conceptual/concrete) transformations have corresponded (or not) to major shifts in paradigms in the arts, in social-cultural trends and in the architectural practice and thinking within the period.

This book introduces the intelligent design theory, which preserves the core of creation science while doing away with much of the biblical literalism and explicit references to God. It discusses the theory, where it came from, and how it is presented to the public. It argues that the theory represents a serious threat to the educational, scientific, and philosophical values of the Enlightenment that have shaped modern science and modern democratic institutions.