Service interchange ramp terminals provide access from the local highway or urban street system to the freeway. In urban areas, the ramp terminals at the arterial road are usually signalized for separation of all high-volume conflicting movements. If right-turn or other movements exiting from the ramp terminals are high, a free right-turn lane, which improves operations for right-turn and through exiting traffic, is sometimes provided at the ramp terminals with an exclusive lane for right-turn vehicles on a departure leg. If the ramp terminal is closely followed by the next downstream intersection, weaving maneuvers will occur since some vehicles make a right turn at the ramp terminal and make a left turn at the downstream intersection. These weaving vehicles usually slow down or stop on the free right-turn lane in order to find an acceptable gap in the arterial road traffic. These slowing or stopping vehicles may cause safety and operational problems. This research evaluates the effect of these weaving maneuvers on the operations of a free right-turn lane at the ramp terminals. To provide a means for evaluating free right-turn lane operations, a linear regression model was developed to predict the delay on the free right-turn lane caused by stopped or slowed vehicles planning on making a weaving maneuver. The variables for this model were arterial through volumes, weaving volumes, number of lanes, and ramp spacing within the interchange. The regression model was based upon the results of the CORSIM traffic simulation model that was calibrated using field data obtained from the study site in College Station, Texas. Once the predicted model was developed, the model validation was performed using the field data to check the accuracy of its prediction. A statistical measure was performed for quantifying the difference between the observed and predicted delay on the free right turn lane. From the research results, it was concluded that the weaving maneuvers influence the operation of a free right-turn lane and cause delay on the free right-turn lane.

No description available.

No description available.

The focus of this thesis is to visually show the significance and relationship between the use of natural materials, and geometric patterns used in Māori weaving. The patterns will reflect indigenous episteme of artistic and tacit knowledge. These patterns are significant to the Māori worldview of kaitiakitanga (stewardship of knowledge), which is cognisant in the ontology of Māori weaving. These patterns are significant forms of Māori cultural symbols that reflect elements of nature, evolution of time and space. The focus is to show how natural materials can be utilised in an art form that embraces bicultural activity, as a reference to customary and new age methods of thinking and practice. This leads to self-enquiry and our own responsibilities, only to ask ourselves; What are the guiding principles within art and design, that upholds the core values of Mātauranga Māori? (Māori epistemological thinking). The concept of this thesis is to define the cultural significance of kaitiakitanga (stewardship), through the preservation of Mātauranga Māori and practice as weavers and artists. This concept challenges our own understanding of what we know and what we don’t know about the relationships between people, place, environment and use. The methods and processes used for this work will be based on customary practices and methods, using native materials, endemic to New Zealand. These materials will be harvested at different time periods. The methodologies used in this project, is a product of intrinsic knowledge and testing new boundaries, through researching more specific detail about varieties of harakeke (New Zealand flax) cultivars, testing the flexibility, functionality and durability of materials. This will challenge the test, of making sure that the methods used will be significantly practiced throughout the processes involved in the making of artistic pieces of work, in accordance to tikanga (protocols). The use of native materials enhances cultural values of kaitiakitanga as a metaphor, which asserts sustainability of Māori epistemological notions of practice and meaning.This also applies to the visual language of Māori. The concept of visual language embraces metaphoric meanings and understanding, which relates to our co-existence with the earth, animals and the elements. All these elements of nature are contained within symbolic traditional patterns. Some of these patterns have derived from phenomena of thought structure, historical events and our co-existence through our connectedness to the land, waters, oceans, sky and universe. How can Māori forms of art be embraced and imbued, in modern society, that signifies place, belonging and cultural enhancement?

Thesis (M.F.A.)--Rochester Institute of Technology, 1982. / Typescript. Includes bibliographical references (leaves 39-42).

Thesis (Ph. D.)--Cornell University, 1994. / Vita. Includes bibliographical references (leaves [205]-211).

The field of interaction design is in constant movement due to the fact that what we design is interactions over time. These interactions often involve di-gital and networked technologies that are based on interchangable software.  These changes often happen at a speed that is imperceivable to us. What if instead of going with this flow, we slow down, or even rewind?This thesis aims to revisit some of the meanings of core concepts in interacti-ve technologies, such as software, hardware, network, screen and application, in order to draw a link between these concepts and their historical entangle-ments with textiles and weaving. The concepts point the attention towards some very specific textile practices like, a net (knotted or woven structure); a screen (partition, filter, screen-printing); softwares (textile merchandise); and application (decoration sewn onto textile).Moving between the literal and figurative senses of the words, the chosen concepts are materialized and activated through embodied interaction, in or-der to challenge their meanings and the things we take for granted in the field of interaction design.  The four variables material, structure, form and scale, are used as a framework to create and evaluate interaction aesthetics. The research largely builds on hands-on explorations and weaving as a way of knowing and doing interac-tion design.The tensions of innovation and tradition are used as drivers for explorations within a post-digital framework. By materializing central concepts into expe-riential artifacts, it allows us to see, feel and talk about other things. These are conversations that can hopefully contribute to a greater understanding of some of the foundational concepts in the field and open up to more meanings of doing and practicing interaction design.

Master of Architecture / A series of surfaces were developed being inspired by the textiles (sarees) of India. The saree was deconstructed, stripped from its mythological and traditional layers of meanings to reveal the threads and was transformed to abstracts that revealed its tectonic characteristics. 18 singular wooden frames were individually woven using cotton threads and then layered to reveal colours and surface qualities. A series of drawings assisted the process to make sense of the spatial quality of the layering of threads.

This project incorporates the relationship of fashion and architecture. In major fashion houses currently, architects are becoming an essential element. Their involvement in projects as creative directors is becoming highly prized in the industry. They are increasingly trusted to take the lead and direct the artistic components. In this project thesis I weave fashion into architecture by researching the design of the fashion house, Missoni and drawing from my experience in both fields / Master of Architecture / As I began the academic year leading to my thesis, I started my research by several explorative drawings - fragments of future design - weaving my building. Architecture and fashion play a core role in my life. Architecture is a strong influence as a native Athenian in the hellenic environment. Fashion has been my work field. I considered how all these elements can compose the ideal space for a fashion house. Architecture and fashion are getting closely related in the development of our era. Both pursue beauty, symmetry, comfort, success and popularity from humans. The clothes can be the surface and the material of our buildings. Missoni's colorful threads (the structure) are perfectly woven to create knitwear that protects and covers the human skin. Similarly, this space was woven into its site and guided by my research. This book follows an accurate chronological order of my thought and design process till the very end.

CARPET is a mystery, It is not just woven one knot after the other It is a POEM, written one word after the other A SONG, composed one note after the other A PAINTING, done one color after the other A WALL, stacked one brick after (on) another. My architectural thesis began with the question of the relationship between the realm of the world most ancient craft and craft of building : The textile art and architecture. Two branches of art which are said their inventions coincide with each other and both came from the same origin : a pen (fence),an interwoven partition. The question of thesis led me to start my research on textile arts and weaving in particular which first became a problematic quest, since the remnants of the textile products, which are still to be found diffuse almost everywhere,have only very recently started to attract attention and the existing information pertained to their history or complex technical aspects of this branch will not suffice the profound need of surveying on textiles. The Carpet Museum will become a shelter for the preservation of this ephemeral craft, protecting this forgotten branch of art. The art of weaving has always been presented within art collections that include other decorative/technical arts, without having a well-deserved position for itself. I began the thesis by weaving : I wove a small piece of rug to explore architecture through the structure of carpets, textiles and weaving. In the design of the carpet museum,each building element such as bearing wall,window,stair,ceiling or sitting area became an architectural manifestation of a woven craft. / Master of Architecture