DOCSLIB.ORG

UNIVERSITY of CALIFORNIA Los Angeles the Production Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
UNIVERSITY of CALIFORNIA Los Angeles the Production Of UNIVERSITY OF CALIFORNIA Los Angeles The Production of Architectural Hybridities in Los Angeles A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy In Architecture By Gustavo Leclerc 2017 © Copyright by Gustavo Leclerc 2017 ABSTRACT OF DISSERTATION The Production of Architectural Hybridities in Los Angeles By Gustavo Leclerc Doctor of Philosophy in Architecture University of California, Los Angeles, 2017 Professor Dana Cuff, Chair The relevance of contemporary architectural design is intrinsically dependent upon it’s being in-step with the aesthetic and spatial sensibilities of its time. Within Southern California, one of the most dramatic contemporary influences on aesthetic and spatial sensibilities is that of Latinization, in particular, Mexican/Chicano cultural practices. This dissertation speculates on the emergence of an architectural hybridity autochthonous to Los Angeles informed by a theoretical framework termed the Spanglish Turn. The development of this framework begins with an analysis of visual arts, and material culture in Los Angeles. This strategy aims to ‘stretch’ the relationship between architecture and specific forms of popular and material culture by speculating on the behavior informing them. Then guided by a formulation of this emergent spatial logic, it looks for tangential inroads and alternative patterns to begin to articulate a new ‘grammar of translation’ for LA’s popular and visual culture into the realm of architecture. ii The Dissertation of Gustavo Leclerc is approved. Sylvia Lavin Diane Favro Michael Dear Dana Cuff, Committee Chair University of California, Los Angeles 2017 iii For Hannah, Octavia, and Artemio. iv Table of Contents PART 1. INTRODUCING THE ‘SPANGLISH TURN’ Chapter 1. The Production of Architectural Hybridity 1.1. Goals and Overview 1.2. Producing Architecture 1.2.1 Types of Mixing. 1.2.2 Levels of Mixing 1.3. Context 1.4. Recent Architectural Theory, Activism and The Spanglish Turn Chapter 2. Cultural Streams in the Creation of Place 2.1. Historic California 2.2. Chicano Culture 2.3. Mexican Immigrant 2.4. The Spanglish Turn and Architectural Hybridity PART 2. THE SPANGLISH TURN IN ART, CULTURE AND ARCHITECTURE Chapter 3. From Mexico City to Mexican Immigrant: Individual Perceptions 3.1. Intr3.2. Visual Art and The Spanglish Turn 3.2.1. Case study # 1. Ruben Ortiz-Torres 3.2.2. Case study # 2. Salomon Huerta 3.2.3. Case study # 3. Refugio Posadas Chapter 4. From Mexico City to Mexican Immigrant: Community Cultures 4.1. Popular and Material Culture and The Spanglish Turn v 4.1.1. Case study # 4. Day of the Dead/Dia de Muertos 4.1.2. Case study # 5. Lowriders 4.1.3. Case study # 6. Taco Trucks 4.2. Synthesis Chapter 5. Modernist Architecture and Resistance to the Spanglish Turn 5.1. The Spanglish Turn in Architecture Until Now 5.2. Case study # 7. Mar Vista Tract Housing Outdoor Spaces – Public and Private Indoor Spaces – Public and Private Community Guidance and Discourse PART 3. TOWARD A SPANGLISH ARCHITECTURE Chapter 6. Functional linguistics of The Spanglish Turn in Architecture 6.1. Spatial Analysis 6.1.1. Metafunctions of Space Situatedness Elements Organization 6.1.2. Charged Fields Adulteration - Densification Acceleration - Deceleration Aggression - Sedation 6.2. Vocabulary: Key Words in Spanglish Architecture vi Chapter 7. Openings to a Normative Spanglish Architecture 7.1. A Grammar for Spanglish Architecture Why my own work? A cultural approach to architectural design ‘Gossip’ as a design tactic Ten experimental Spanglish architectural prototypes: 7.1.1. Affect: Blue House 7.1.2. Hybridity: Kaleidoscope Building 7.1.3. Autochthonous: Red and Gold House 7.1.4. Assimilation: Big Blue Cube 7.1.5. Tradition/memory: SHOE 7.1.6. Risk: Four Interlocking Cubes and a Big Golden Fish 7.1.7. Joy: Radiant Yellow Building with a “Mohawk” and Large Wings 7.1.8. Liminal/Blurred: Gold and Blue Building with Heavy Black Lines 7.1.9. Multilingual: Kimono Building 7.1.10. Flexispace: Green Building Chapter 8. Conclusions 8.1. Summary of Findings 8.2 Next Steps 8.2.1. Re-inscribing Cultural Studies into Architecture 8.2.2. Applicability of the Spanglish Turn method to other contexts/cities 8.2.3. Inscribing Latino Culture into Architecture References vii Figures 1 Einar and Jamex de la Torre, Colonial Atmosphere. Mixed Media. 2002 2 US/Mexico Border Fence at the Pacific Ocean 3 John Valadez, Car Show. Painting, 2001 4 Quema de Castillos in Mexico City 5 Quema de Judas in Mexico City 6 Ruben Ortiz-Torres, Alien Toy. Kinetic Sculpture, 1997 7 Ruben Ortiz-Torres, Power Tools/Herramientas de Alto Poder. Sculpture, 1999 8 Peter Paul Rubens, Lion Hunt. Painting, 1621 9 Salomón Huerta, Los Tres Caballeros. Painting, 1992 10 Salomón Huerta, Sniper. Painting, 1994 11 Salomón Huerta, Shaved Head. Painting, 2001 12 Salomón Huerta, Purple House. Painting, 2002 13 Bobco Metals Showroom, designed by NULAB Architects, 14 Refugio Posadas, Sotoyama-Chinampa. Painting, 1990 15 Refugio Posadas, City with Two Faces. Painting, 1990 16 Refugio Posadas, Cuicuilco. Painting, 1993 17 Refugio Posadas, Casa para un Taquero. Painting, 1993 18 Day of the Dead celebration in Mexico 19 Day of the Dead Altar 20 Totonacan Flyers from Papantla, Veracruz, Mexico 21 Natural Born Killa, Lowrider Bicycle, 2010 22 Acido Dorado House, designed by Robert Stone, Joshua Tree, 2009 viii 23 Rosa Muerta House, designed by Robert Stone, Joshua Tree, 2009 24 Lonchera (Taco Truck), East Los Angeles, 1996 25 Rem Koolhass and John Baldessari, Design Proposal for Cal Trans Building, Los Angeles, California, 2001 26 Gregory Ain Mar Vista Housing perspective 27 House on Meier Street, exterior facade 28 Kitchen 29 Barbara Jones, La Alianza. Mixed Media, 2002 30 Salomón Huerta, Pink House. Painting, 2003 31 El Cuarto and Charge Fields Diagram 32 Joe Lewis, don’t look back, why? Sculpture, 2002 33 Daniel J. Martinez, Nellekaghnituten: Man Who Throws Rocks (An event for A-Moralist as Parrhesiates. Kinetic Sculpture, 2002 34 Grafitti wall in Los Angeles 35 Piñatas in Los Angeles 36 Raspberry Fields House, designed by Jason Payne, Round Valley, Utah, 2011 37 Gajin Fujita, Southland Standoff. Painting, 2013 38 Hustler Casino Lobby, designed by Godredson-Sigal Architects 39 Self Help Graphics and Art building in East Los Angeles 40 Somis Hay Barn, designed by Studio Pali Fekete Architects 41 Mark Bradford, The Devil is Beating His Wife. Painting, 2003 42 El Pedorrero muffler shop in East Los Angeles 43 Ruben Ortiz-Torres, The Garden of Earthly Delights. Kinetic Sculpture, 2002 ix 44 Affect: Blue House 45 Hybridity: Kaleidoscope Building 46 Autochthonous: Red and Gold House 47 Assimilation: Big Blue Cube 48 Tradition/Memory: SHOE 49 Risk: Four Interlocking Cubes and a Golden Fish 50 Joy: Radiant Yellow Building with a ‘Mohawk’ and Large Wings 51 Liminal/Blurred: Gold and Blue Building with Heavy Black Lines 52 Multilingual: Kimono Building 53 Flexispace: Green House x Biography Gustavo Leclerc is an architect and an artist. He is a partner and founding member of the multidisciplinary collective ADOBE LA (Artists, Architects, and Designers Opening the Border Edge of Los Angeles). He was a fellow at Harvard University in the prestigious Loeb Fellowship program during the 1999-2000 academic year. In 2000, he co-chaired the ACSA National Conference in Los Angeles, titled Heterotopolis: Immigration, Ethnicity and the American City. He’s been involved in several art exhibitions as a curator, artist, and exhibition designer such as Mixed Feelings at the USC Fisher Museum of Art; Revelatory Landscapes at the San Francisco Museum of Modern Art; Facades: Architecture, Urban Space and The Moving Image at the Long Beach Museum of Art; House Rules at the Wexner Center for the Arts, Columbus, Ohio; and Urban Revision: Current Projects for the Public Realm at the Los Angeles Museum of Contemporary Art. He co-edited Postborder City (Rutledge, 2003), Urban Latino Cultures: La Vida Latina in L.A. (Sage Publications, 1999), and Hybrid City/Ciudad Hibrida: The Production of Art in Alien Territory, (SCI-Arc Public Access Press, 1998). He has taught courses on architectural history, architectural theory, landscape theory, and design studio at Woodbury University and Otis College of Art and Design in Los Angeles, California. He lectures throughout the United States and Mexico on art, architecture, border culture, new cosmopolitanisms, (im)migration, and cultural criticism xi PART 1. INTRODUCING THE ‘SPANGLISH TURN’ Chapter 1. The Production of Architectural Hybridity 1.1. Goals and Overview In the creation of artistic and cultural works, where you are, and at what time period, will have a constitutive effect on the kind of work you produce. Especially during times of turmoil in social, economic, or political life, there are opportunities for a radically altered art and architecture. Such creative processes are both a reflection of changing contexts but also an act of re-creation: it is an interpretive strategy and an opportunity to reimagine, even transcend the present. Los Angeles, currently in a time of radical change itself is one location where new hybridities are created, a process which is heavily influenced by the changing cultural dynamics of Los Angeles (Davis 1992, 11). This process, along with the current urban turmoil, produces an emergent hybrid culture, visible in the arts, and contemporary urban practices, and architecture (Gonzalez, 1999; Rojas, 1999). This dissertation describes and explains
Load more

Recommended publications
  • ASSEMBLY ARTS, ENTERTAINMENT, SPORTS, TOURISM, and INTERNET MEDIA COMMITTEE Honorable Kansen Chu, Chair
    ASSEMBLY ARTS, ENTERTAINMENT, SPORTS, TOURISM, AND INTERNET MEDIA COMMITTEE Honorable Kansen Chu, Chair The following are measures considered by the Committee during the 2017-18 Legislative Session. AB-132 (Jones-Sawyer) – Public Contracts: 2028 Olympic and Paralympic Games. SUMMARY: Authorizes the Governor to execute games support contracts as specified, not to exceed $270 million, in connection with the site selection process for the City of Los Angeles to become the host for the 2028 Olympic Games and Paralympic Games, and would establish the Olympic Games Trust Fund in the State Treasury and would, upon appropriation by the Legislature, make the money in the fund available for these purposes. Last Action: Chapter 836, Statutes of 2017 AB-427 (Muratsuchi) – California Aerospace Commission. SUMMARY: This bill would have created the California Aerospace Commission to foster the development of activities in California related to aerospace, including, but not limited to, aviation, commercial and governmental space travel, unmanned aerial vehicles, aerospace education and job training, infrastructure and research launches, manufacturing, academic research, applied research, economic diversification, business development, tourism, and education. Last Action: Vetoed AB-755 (Eduardo Garcia) – Museums: California Museums for All grant program. SUMMARY: As heard in Committee, this bill would have established the California Museums for All, under the administration of the California Cultural and Historical Endowment (CCHE), to provide grants to participating museums for them to, among other things, offer free to $3 admission fees for low income patrons, as provided, and would appropriate $4,500,000 from the General Fund to the CCHE for allocation for the California Museums for All, the Museum and Cultural Resources Program, and the administrative costs of these 2 programs, as specified.
    [Show full text]
  • The Power of Biases: Anti-Chinese Attitudes in Californiaâ•Žs Gold Mines
    Historical Perspectives: Santa Clara University Undergraduate Journal of History, Series II Volume 22 Article 6 2017 The oP wer of Biases: Anti-Chinese Attitudes in California’s Gold Mines Joe Curran Santa Clara Univeristy, [email protected] Follow this and additional works at: https://scholarcommons.scu.edu/historical-perspectives Part of the History Commons Recommended Citation Curran, Joe (2017) "The oP wer of Biases: Anti-Chinese Attitudes in California’s Gold Mines," Historical Perspectives: Santa Clara University Undergraduate Journal of History, Series II: Vol. 22 , Article 6. Available at: https://scholarcommons.scu.edu/historical-perspectives/vol22/iss1/6 This Article is brought to you for free and open access by the Journals at Scholar Commons. It has been accepted for inclusion in Historical Perspectives: Santa Clara University Undergraduate Journal of History, Series II by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Curran: The Power of Biases The Power of Biases: Anti-Chinese Attitudes in California’s Gold Mines Joe Curran A study conducted in 2015 found that 49 percent of Americans believe immigrants take jobs away from “true Americans,” and that 61 percent believe that immigrants take social services away.1 These beliefs in the negative effects of immigrants, which inform immigration policy today, have deep roots. Anti-immigrant sentiments began in the United States during the first waves of immigration from Europe in the late 18th century. Various immigrant groups faced severe discrimination throughout the 19th century, but one group was the subject of the first prominent and targeted law restricting immigration to the United States in 1882: the Chinese.
    [Show full text]
  • Strong Cultures and Subcultures in Dynamic Organizations
    02-091 The Role of Subcultures in Agile Organizations Alicia Boisnier Jennifer A. Chatman1 1 The second author wrote this paper while a Marvin Bower Fellow at the Harvard Business School and is grateful for their support. We also thank Elizabeth Mannix, Rita McGrath, and an anonymous reviewer for their insightful suggestions. Copyright © 2002 by Alicia Boisnier and Jennifer A. Chatman Working papers are in draft form. This working paper is distributed for purposes of comment and discussion only. It may not be reproduced without permission of the copyright holder. Copies of working papers are available from the author. The Role of Subcultures in Agile Organizations Alicia Boisnier and Jennifer A. Chatman1 Haas School of Business University of California, Berkeley May 24, 2002 To appear in, R. Petersen and E. Mannix, Leading and managing people in dynamic organizations. Forthcoming, 2002. 1 The second author wrote this paper while a Marvin Bower Fellow at the Harvard Business School and is grateful for their support. We also thank Elizabeth Mannix, Rita McGrath, and an anonymous reviewer for their insightful suggestions. 2 Organizations face increasingly dynamic environments characterized by substantial, and often unpredictable technological, political, and economic change. How can organizations respond rapidly to such changes or become more agile? Organizational agility, according to Lee Dyer, “requires a judicious mix of stability and reconfigurability” (2001: 4). We consider an unlikely source of agility: organizational culture. This may seem like an odd juxtaposition since strong unitary cultures exert a stabilizing force on organizations by encouraging cohesion, organizational commitment, and desirable work behaviors among members (e.g., Deal & Kennedy, 1982; Nemeth & Staw, 1989; O'Reilly & Chatman, 1986).
    [Show full text]
  • 2 the Cultural Economy of Fandom JOHN FISKE
    2 The Cultural Economy of Fandom JOHN FISKE Fandom is a common feature of popular culture in industrial societies. It selects from the repertoire of mass-produced and mass-distributed entertainment certain performers, narratives or genres and takes them into the culture of a self-selected fraction of the people. They are then reworked into an intensely pleasurable, intensely signifying popular culture that is both similar to, yet significantly different from, the culture of more ‘normal’ popular audiences. Fandom is typically associated with cultural forms that the dominant value system denigrates – pop music, romance novels, comics, Hollywood mass-appeal stars (sport, probably because of its appeal to masculinity, is an exception). It is thus associated with the cultural tastes of subordinated formations of the people, particularly with those disempowered by any combination of gender, age, class and race. All popular audiences engage in varying degrees of semiotic productivity, producing meanings and pleasures that pertain to their social situation out of the products of the culture industries. But fans often turn this semiotic productivity into some form of textual production that can circulate among – and thus help to define – the fan community. Fans create a fan culture with its own systems of production and distribution that forms what I shall call a ‘shadow cultural economy’ that lies outside that of the cultural industries yet shares features with them which more normal popular culture lacks. In this essay I wish to use and develop Bourdieu’s metaphor of 30 THE CULTURAL ECONOMY OF FANDOM describing culture as an economy in which people invest and accumulate capital.
    [Show full text]
  • Central Problems in Cultural Studies
    Central Problems in Cultural Studies 1 Language and Material For Marxism, culture is a corporeal force locked into the socially organized production of the material conditions of existence. Marxism has argued that the material mode of production is ‘the real foundation’ of cultural superstructures. That is, the material – understood here as the economic – determines the cultural. However, this orthodox reading of Marx proved to be too mechanical and deterministic in exploring the specific features of culture. Consequently, the narrative of cultural studies involves a distancing of itself from Marxist reductionism. Instead, the analysis of the autonomous logic of language, culture, representation and consumption was placed in the foreground. – Barker, pp. 25-26 2 The Textual Character of Culture Most students of cultural studies are aware that culture can be read as a text, using concepts like signification, code or discourse. However, an emphasis on structuralist and poststructuralist accounts of signification has sometimes led cultural studies to reify language as a ‘thing’ or ‘system’ rather than grasp it as a social practice. – Barker, p. 26 3 The metaphor of culture as ‘like a language’ has a great deal to recommend it. However, there is also much to be gained by describing culture in terms of practices, routines and spatial arrangements. Not only is language always embedded in practice, but also all practices signify. Further, the identification of textual codes and subject positions does not guarantee that the proscribed meanings are ‘taken up’ by concrete persons in daily life (see Ang, 1985; Morley, 1992). – Barker, p. 26 4 The Location of Culture For Raymond Williams (1981, 1983) culture is located, for all intents and purposes, within flexible but identifiable boundaries.
    [Show full text]
  • Download CV (PDF)
    Anuradha Vikram anu(at)curativeprojects(dot)net About Anuradha (Curative Projects) Independent curator and scholar working with museums, galleries, journals, and websites to develop original curatorial work including exhibitions, public programs, and artist-driven publications. Consultant for strategic planning, institutional vision, content strategy, and diversity, equity, and inclusion work. Current engagements include Craft Contemporary, LA Freewaves, MhZ Curationist, LACE, X-TRA, X Artists’ Books, and UCLA Art Sci Center. Education M.A., Curatorial Practice, California College of the Arts, San Francisco, CA, 2005 B.S., Studio Art, minor in Art History, New York University, New York, NY, 1997 Curated Exhibitions, Performances, and Public Art 2024 ▪ Co-curator, Atmosphere of Sound: Sonic Art in Times of Climate Disruption (with Victoria Vesna), UCLA Art Sci Center at Center for Art of Performance, Getty Pacific Standard Time: Art x Science x LA, dates TBC. 2023 ▪ Unmaking/Unmarking: Archival Poetics and Decolonial Monuments, LACE, Los Angeles, dates TBC. 2022 ▪ Jaishri Abichandani: Lotus-Headed Children, Craft Contemporary, Los Angeles, CA, January 30–May 8. ▪ Exa(men)ing Masculinities, with Marcus Kuiland-Nazario and Anne Bray, LA Freewaves, Los Angeles State Historic Park, dates TBC. 2021 ▪ Atmosphere of Sound: Sonic Art in Times of Climate Disruption, Ars Electronica 2021 Garden, September 8-12. ▪ Juror, FRESH 2021, SoLA Contemporary. August 28-October 9. 2020 ▪ Patty Chang: Milk Debt, 18th Street Arts Center, Santa Monica, CA, October 19-January 22, 2021. Traveled to PioneerWorks, Brooklyn, March 19-May 23, 2021. ▪ Co-curator, Drive-By-Art (with Warren Neidich, Renee Petropoulos, and Michael Slenske). Citywide exhibition, Los Angeles, May 23-31.
    [Show full text]
  • Water and Culture
    Water and Culture A Resource Management Strategy of the California Water Plan California Department of Water Resources July 29, 2016 Water and Culture Table of Contents Water and Culture ...................................................................................................................................... 1 What is Culture? ....................................................................................................................................... 1 Cultural Resources and Cultural Resources Management ........................................................................ 3 Cultural Considerations and Water Management in California ................................................................ 3 California Native American Tribes’ Relationships with Water ................................................................ 5 Implications for Water Management .................................................................................................... 6 Potential Benefits ...................................................................................................................................... 7 Potential Costs .......................................................................................................................................... 8 Major Implementation Issues .................................................................................................................... 8 Climate Change ........................................................................................................................................
    [Show full text]
  • ART, TECHNOLOGY, and HIGH ART/LOW CULTURE DEBATES in CANONICAL AMERICAN ART HISTORY I. Overview in His Media Ar
    CHAPTER ONE: ART, TECHNOLOGY, AND HIGH ART/LOW CULTURE DEBATES IN CANONICAL AMERICAN ART HISTORY I. Overview In his Media Art History, Hans-Peter Schwarz of the Center for Art and Media in Karlsruhe, Germany (ZKM) wrote: “The history of the new media [sic] is inextricably linked with the history of the project of the modern era as a whole. It can only be described as the evolution of the human experience of reality, i.e. of the social reality relationship in the modern age.” I begin with his words, which have strong resonance for me, perhaps beyond his initial intent or ultimate direction. His astute triangulation of those three concepts—new media history, the project of the modern era, and “social reality”—form the nexus of my theoretical investigation. For it seems that current social realities and the project of the modern era largely govern new media’s reception within the Western art history canon. Perhaps clarity regarding the ideological interconnection of these three elements will only be possible with more historical distance. However, this dissertation represents a step toward a better understanding of the sometimes-vicious canonical opposition to the fusion of art and technology, in light of these intersections. Key are his two phrases: “the project of the modern era,” and “the evolution of the human experience of reality, i.e. of the social reality relationship in the modern age.” On the basis of Schwarz’s text, I take the second phrase to mean the dehumanization that results from industrialization and modern warfare. In regard to artistic production, he rightly underscores the abrupt reorganization of vision precipitated by, for example, developments in photography and cinematography during the early modernist period.
    [Show full text]
  • From Britishness to Multiculturalism: Official Canadian Identity in the 1960S
    Études canadiennes / Canadian Studies Revue interdisciplinaire des études canadiennes en France 84 | 2018 Le Canada et ses définitions de 1867 à 2017 : valeurs, pratiques et représentations (volume 2) From Britishness to Multiculturalism: Official Canadian Identity in the 1960s De la britannicité au multiculturalisme : l’identité officielle du Canada dans les années 1960 Shannon Conway Electronic version URL: http://journals.openedition.org/eccs/1118 DOI: 10.4000/eccs.1118 ISSN: 2429-4667 Publisher Association française des études canadiennes (AFEC) Printed version Date of publication: 30 June 2018 Number of pages: 9-30 ISSN: 0153-1700 Electronic reference Shannon Conway, « From Britishness to Multiculturalism: Official Canadian Identity in the 1960s », Études canadiennes / Canadian Studies [Online], 84 | 2018, Online since 01 June 2019, connection on 07 July 2019. URL : http://journals.openedition.org/eccs/1118 ; DOI : 10.4000/eccs.1118 AFEC From Britishness to Multiculturalism: Official Canadian Identity in the 1960s Shannon CONWAY University of Ottawa The 1960s was a tumultuous period that resulted in the reshaping of official Canadian identity from a predominately British-based identity to one that reflected Canada’s diversity. The change in constructions of official Canadian identity was due to pressures from an ongoing dialogue in Canadian society that reflected the larger geo-political shifts taking place during the period. This dialogue helped shape the political discussion, from one focused on maintaining an out-dated national identity to one that was more representative of how many Canadians understood Canada to be. This change in political opinion accordingly transformed the official identity of the nation-state of Canada. Les années 1960 ont été une période tumultueuse qui a fait passer l'identité officielle canadienne d'une identité essentiellement britannique à une identité reflétant la diversité du Canada.
    [Show full text]
  • Culturalistic Design: Design Approach to Create Products
    CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Except where reference is made to the work of others, the work described in this thesis is my own or was done in collaboration with my advisory committee. This thesis does not include proprietary or classified information. Brandon J. Allen Certificate of Approval: Bret Smith Tin Man Lau, Chair Professor Professor Industrial Design Industrial Design Tsai Lu Liu George T. Flowers Assistant Professor Dean Industrial Design Graduate School CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen A Thesis Submitted to the Graduate Faculty of Auburn University in Partial Fulfillment of the Requirements for the Degree of Master of Industrial Design Auburn, Alabama May 9, 2009 CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Permission is granted to Auburn University to make copies of this thesis at its discretion, upon request of individuals or institutions and at their expense. The author reserves all publication rights. Signature of Author Date of Graduation iii THESIS ABSTRACT CULTURALISTIC DESIGN: DESIGN APPROACH TO CREATE PRODUCTS FOR SPECIFIC CULTURAL AND SUBCULTURAL GROUPS Brandon J. Allen Master of Industrial Design, May 9, 2009 (B.I.D., Auburn University, 2005) 93 Typed Pages Directed by Tin Man Lau Designers have a unique process for solving problems commonly referred to as design thinking. Design thinking, especially on a cultural level can be used to tackle a wide range of creative and business issues. Design thinking with true cultural infusion is known as “Culturalistic Design”, and can have profound and varying effects on product designs.
    [Show full text]
  • The Influence of the Los Angeles ``Oligarchy'' on the Governance Of
    The influence of the Los Angeles “oligarchy” onthe governance of the municipal water department (1902-1930): a business like any other or a public service? Fionn Mackillop To cite this version: Fionn Mackillop. The influence of the Los Angeles “oligarchy” on the governance of the municipal wa- ter department (1902-1930): a business like any other or a public service?. Business History Conference Online, 2004, 2, http://www.thebhc.org/publications/BEHonline/2004/beh2004.html. hal-00195980 HAL Id: hal-00195980 https://hal.archives-ouvertes.fr/hal-00195980 Submitted on 11 Dec 2007 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. The Influence of the Los Angeles “Oligarchy” on the Governance of the Municipal Water Department, 1902- 1930: A Business Like Any Other or a Public Service? Fionn MacKillop The municipalization of the water service in Los Angeles (LA) in 1902 was the result of a (mostly implicit) compromise between the city’s political, social, and economic elites. The economic elite (the “oligarchy”) accepted municipalizing the water service, and helped Progressive politicians and citizens put an end to the private LA City Water Co., a corporation whose obsession with financial profitability led to under-investment and the construction of a network relatively modest in scope and efficiency.
    [Show full text]
  • The Dimensions of Secession in California
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository College of Arts & Sciences Senior Honors Theses College of Arts & Sciences 5-2020 The dimensions of secession in California. Jared J Thomas University Of Louisville Follow this and additional works at: https://ir.library.louisville.edu/honors Part of the Models and Methods Commons Recommended Citation Thomas, Jared J, "The dimensions of secession in California." (2020). College of Arts & Sciences Senior Honors Theses. Paper 225. Retrieved from https://ir.library.louisville.edu/honors/225 This Senior Honors Thesis is brought to you for free and open access by the College of Arts & Sciences at ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in College of Arts & Sciences Senior Honors Theses by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. The Dimensions of Secession in California By Jared Thomas Submitted in partial fulfillment of the requirements for Graduation Magna Cum Laude and for Graduation with Honors from the Department of Political Silence University of Louisville March 23 ,2020 Abstract The purpose of this research paper was to determine whether annual income is an indicator of a respondent’s level of support for the Californian independence movement. Ultimately, the analysis here determined that there is not a statistically significant relationship between the income of the participant and their support for secession in California. However, the data analysis did yield that there is a correlation between an index of ‘Support for Secession’, ‘Interest in Secession’ and ‘Seriousness of Claim’ and income.
    [Show full text]