Filmmakers seek to create story pieces that are visually beautiful and engage the full attention of their audience. They typically abide by a 3-step process moving through pre-production, production, and post-production. Within each step, there are a series of tasks that need to be accomplished in order to reach the completed film. A successful film requires careful planning and strategy in pre-production, timely and decisive execution in production, and minimal unforeseen retouching in post-production.<br/><br/>Even though filmmakers have continued to follow the same formula throughout the decades, the filmmaking process has remained largely inefficient. It is extremely common for pre-production planning to be undercut, for production filming to run far too long, and for post-production VFX and editing to send the project over budget. These instances can cause major issues as the project is being finalized. In many scenarios portions of the project need to be reshot, the box office revenue isn’t enough to make up for extensive VFX retouching, or the project may never even come to fruition. <br/><br/>The reason for this recurring theme of films being over budget and out of time is quite simply that technology has made filmmakers lazy. “Fix it in post” is a disgustingly common phrase used in the film industry. It describes the utter abuse of computer retouching in the post-production phase of filmmaking. Despite working in an industry that seeks to entertain the human eye, filmmakers have become blind to all of the small mistakes that could cost them hundreds of hours and millions of dollars in the long run.

Bioluminescent algae has long fascinated humans as a beautiful natural phenomenon. This creative project uses bioluminescent algae to push the limit of biomimicry, using the algae not as a model but as a technology. Through experimentation with algae samples and industrial design, two potential applications of bioluminescent algae as a sustainable lighting technology were generated. One design focuses on indoor, private lighting, while the other focuses on outdoor, public lighting. Both outcomes attempt to solve problems generated by nighttime lighting including light pollution, wasted electricity usage, and negative impacts on human and environmental health while retaining the benefits of safety and convenience.

The COVID-19 Pandemic has provided a challenge for educators to create virtual learning materials that are engaging and impactful during times of high stress and isolation. In this creative project, I explore the variety of virtual tools and web applications from Esri by creating a Story Map on the Verde River Watershed. This Story Map is intended for an audience of students in late middle school and early high school but can be a resource to teachers for a wider age range. The integration of interactive technology and virtual tools in educational practices is likely to continue past the immediate circumstances of the COVID-19 pandemic. The purpose of this Story Map is to showcase one of the many uses for geospatial web applications beyond the immediate realm of GIS.

This thesis asks the question, 'How can equitable approaches be advanced within the architectural discipline in order for architects to make increasingly meaningful social and civic impacts on vulnerable communities?' It is a product of my experience working on a project for a low-income community of color, along with my realization that I did not possess the tools to be able to design in a way that fostered equity for this community. In an attempt to design those tools for myself and question how architectural practices can be used to enhance equity in one's work, the thesis features the reimagining of several architectural approaches. The approaches take inspiration from the discipline of equitable creative placemaking, drawing from concepts such as cultural asset mapping, co-creation, and fostering community agency.

Heritage conservation of built environments through adaptive reuse is an integral part of preserving and regenerating a community's cultural memory and identity. The buildings we inherit become the visual storytellers of our communities' histories and traditions; how we design tells the story of how we lived. It is that treasure that is passed down through generations that morphs the characteristics of collective cultural identity. However, zeitgeist architecture which is adaptively reused, often focuses on preservation, restoration, or conservation of the architecture or the shell. Simultaneously, the heritage interiors are transformed, losing the spirit of place to the new use and program. This thesis argues for the importance of preserving heritage interiors as a vital component of a building's story in adaptive reuse projects, referencing literature about the history of adaptive reuse and heritage conservation in built environments, as well as different approaches, tools, and strategies for heritage conservation in various projects and precedents. The thesis explores multiple case studies of varying typologies in Jordan, the Middle East, which successfully address the challenge of heritage interiors conservation. The study examines the different ways in which the spirit of the interior space is preserved and included as part of the design strategy while transforming the programming of the space and the new functions it serves. Examples of such strategies include materials and textiles, furniture, fixtures, use of original materials and architectural features, and the degree of intervention in the preservation, restoration, and conservation of the interiors. The thesis is grounded in the question of how adaptive reuse can approach heritage interiors in a way that conserves the experience of the architecture and the interiors while transforming the programming of the space.

This thesis seeks to answer, how could architects design for mystery and suspense and how would the perception of those spaces change for the spectators? By looking into production designers, art directors, and screenwriters, specifically the film Rear Window (1954) by Alfred Hitchcock one can analyze their use of architecture as part of the way that they build mystery and suspense by making movies that can help test if architecture spaces that are originally designed for a different purpose can build mystery and suspense. This research re-creates one scene from the film in four different locations: three on Arizona State University Tempe campus and one in an apartment complex. These short movies tested in different architectural spaces as such as, entering and exiting of buildings, access under a building that restricts individuals from seeing who is coming in or out, enclosed architecture, and by having hallways that lead up to each other and not permitting the occupant/participant to see everything around them. After filming the movies were compared to each other and a set of drawings was made to understand important choices made in each movie. What this thesis comes to investigate are the movies which are tools architects can use in their design process. Instead of starting a project from a sketch, why not start it from a movie. As this thesis reveals the act of choosing a film, dissecting it, and re-creating the experience of the film in their own movies in different locations can create a unique project.

This article serves to provide research and an analysis of the historical and present-day implications of inefficiencies within Albania’s supply chain and economic systems. Several challenges have resulted in a stagnant business environment within the nation despite ample natural resources, an ideal geographic location, and generally acceptable existing infrastructure. There are three major sectors in the Albanian economy that need substantial improvement, including global trade positioning, transport infrastructure, and the tourism sector. Focusing on strategic improvement within these areas will allow the nation to develop value-driving opportunities and should be investigated further to promote industrial growth and improve Albania’s global economic position.