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Sustainable Built Environments Senior Capstone Project / Rapid urbanization has profoundly reshaped societies, economies, and the natural environment. Urban populations currently sit around 80% and 40% for developed and developing countries respectively with cities accounting for nearly all future population growth. The impacts of urbanization are vast lending to low density areas, traffic congestion, automobile reliance, pollution, and biodiversity loss. Sustainable development is essential to maintaining the integrity of the world with current and future anticipated levels of urbanization. Mixed-use developments or those which combine three or more integrated revenue producing uses are a form of sustainable development which can help mitigate the negative effects of urbanization. Benefits of mixed-use include pedestrian and bicycle friendly areas, place-making, increased revenue, and reduced automobile reliance and pollution. This research attempts to determine the most successful form of mixed-use development in downtown Tucson, Arizona. This study boundary was chosen because downtown Tucson is in a state of revitalization and it is important to analyze how developers and the City of Tucson are making use of land. For the purpose of this research a case study analysis was performed on three mixed-use developments, the Cadence at Congress Street and 4th Avenue, One East Broadway at Broadway Boulevard and Stone Avenue, and the Mercado San Agustin at Congress Avenue and Avenida del Convento. Each development was examined and rated based on economic, social, and environmental success. All three developments scored fairly similarly but the Cadence scored the highest with low operating costs, the creation of a high volume jobs, and a location near transit and pedestrian and bicycle friendly areas.

My artwork is inspired by philosophical questions and personal experiences that are prompted from the colors and textures of weathered and worn metal, the changing scenery of the landscape, or from the recollections of childhood memories. The sum of these inspirations are unified by the concepts of growth and change, my own and that of the body of work. The translation of my experiences provides the opportunity to discover new variations in theme, process, and media. For example, monotype printmaking allows me to present the often overlooked beauty of metal eroding, revealing its story layer by layer. Digital photography encourages me to revisit the places of my childhood and consider the effects of the passing years. Painting provides a playground for the exploration of line, shape, texture, and color in a symbolic and nonobjective manner.

I was born the only American in my West Indian, Guyanese family. My culture played a large part in how I was brought up, and in turn, shaped the person and artist I have become. In my work, I like for my viewers to get a personal feel for what it is like to be West Indian American. My work is a cultural record of people, places, and things. I capture small, special moments because I know that they will never be recreated. My camera’s viewfinder has always been filtered through my eye as a child of immigrant parents. I use photography as my first step in creating and recording ordinary, everyday things. Photographs are captured where I feel most American eyes would by-pass or overlook their importance. However, my work must also involve my hand. Therefore, through my mark making, whether I am drawing, painting, collaging, stitching or using software, I add and subtract from my original photos. By manipulating my images, I change and emphasize a single, fleeting moment into something permanent and significant.

Experimentation is the beginning and end of all of my art. I examine the interactions of the materials that are involved in the journey of creativity. Typically, I begin a piece with an irregularly drawn line, using a white crayon to resist the media that I will later apply, thereby creating a negative line. This gestural line becomes an element that helps direct my intuitive mark-making. My process involves masking, using resists, and layering materials. I then remove the layers of media by scraping or sanding them away changing the texture of the paper. I am drawn to media that is unpredictable, difficult to control, and can be unforgiving. These qualities enhance the process of the experimentation because application of a pigmented mark cannot completely be erased. The resulting work reveals its history through the process of making it.

Society and popular culture present their ideas of perfection through the media. I wish to reinvent these standards in my art, to show the beauty of the ordinary and the grace of the flawed. Beauty, by definition, is that which gives intense aesthetic pleasure. I think that aesthetic pleasure can be found in the commonplace and I use aspects of cropping, perspective, and scale to show these everyday items as extraordinary. I want people to realize the loveliness of a street lamp, the sensuality of a smile, or the poetry of an elbow. This is the underlying theme that runs through all of my work. The evolution of the methods used to create this beauty is also important. Cropping images and adding textures to my supports has shaped my approach to realism. It has been quite a journey.

"Previous studies carried out in our laboratory resulted in the development of noncovalently assembled multilayered thin films incorporating metal ions such as Cu(II) and organic ligands including dicarboxypyridine. In one study, a SAM consisting of 4-[(10- mercaptodecyl)oxy]pyridine-2,6-dicarboxylic acid was deposited on gold. The pyridine group was then used to complex a layer of Cu(II) ions which in turn were capped by cis- 2,2’-dipyridylethylene. This stilbene analog undergoes photoinduced cis-trans isomerization on the surface resulting in a substantial increase in the hydrophilicity of the surface leading to the possibility of creating virtual microfluidic valves and pumps. However, the photoswitchable wettability was irreversible. Stilbene-4,4-dicarboxylic acid was the ligand selected for generating a reversible system. The decision to use this stilbene moiety was based on molecular modeling and the commercial availability of both cis and trans forms. When 4-[(10-mercaptodecyl)oxy]pyridine-2,6-dicarboxylic acid was used as SAM, the stilbene-4,4’-dicarboxylic acid did not undergo photoisomerization. Prolonged irradiation leads to photodegradation of film. A mixed SAM of dodecanethiol and mercaptoundecanoic acid was used to create space on the surface and facilitate isomerization. But cis-trans isomerization of the stilbene moiety was not achieved by this system. When a mixed SAM of 4-[(10-mercaptodecyl)oxy]pyridine-2,6-dicarboxylic acid and 4-tert butylbenzenethiol was used, stilbene-4,4-dicarboxylic acid showed reversible photoinduced cis-trans isomerization for one complete cycle leading to a reversible change in wettability. After one cycle of isomerization the film photodegrades."

The essay: 1) Establishes that there is a tradition of employing trombone in mixed chamber works, 2) Shows that there is a large body of chamber music composed since 1978 and 2010 in which no more than one trombone is employed, 3) Discusses works composed between 1978 and 2010 and discusses performance practice issues and obstacles in order to provide a resource for trombonists in the development and presentation of these works, 4) Presents, as a list, a survey of available mixed chamber music written since 1978 that utilizes one trombone.

Thesis (M. Phil.)--University of Hong Kong, 2006. / Title proper from title frame. Also available in printed format.

Regression models with a scalar response and a functional predictor have been extensively studied. One approach is to approximate the functional predictor using basis function or eigenfunction expansions. In the expansion, the coefficient vector can either be fixed or random. The random coefficient vector is also known as random effects and thus the regression models are in a mixed effects framework. The random effects provide a model for the within individual covariance of the observations. But it also introduces an additional parameter into the model, the covariance matrix of the random effects. This additional parameter complicates the covariance matrix of the observations. Possibly, the covariance parameters of the model are not identifiable. We study identifiability in normal linear mixed effects models. We derive necessary and sufficient conditions of identifiability, particularly, conditions of identifiability for the regression models with a scalar response and a functional predictor using random effects. We study the regression model using the eigenfunction expansion approach with random effects. We assume the random effects have a general covariance matrix and the observed values of the predictor are contaminated with measurement error. We propose methods of inference for the regression model's functional coefficient. As an application of the model, we analyze a biological data set to investigate the dependence of a mouse's wheel running distance on its body mass trajectory.