This thesis is concerned with the concept of memory, its role in inter‐generational transmission, and identity formation, within the context of pre‐literate, small‐scale societies. It explores different mnemonic practices in relation to different perceptions of time, and the continuities or discontinuities (locational, temporal and symbolic) with the past they create, as part of exploring aspects of cultural cognition in prehistory. Through these three interrelated concepts – memory, time, and cognition – and their intricate relationships with material culture, especially architecture, landscapes, practical action and social life, the aim is to suggest a theoretical and methodological framework within which to explore how memory of the past was not only formed, maintained and transmitted but also transformed, concealed or ‘destroyed’ in the prehistoric present. The geographical and chronological framework of this study is provided by the rich archaeological record of early prehistoric Cyprus. Through the concept of memory, and using selected site data‐sets at different spatial and temporal scales, the objective is to offer a more textured narrative of socio‐cultural developments on the island that take into consideration the questions of how continuity and change are perceived and experienced, how individuals and communities ‘see’ themselves in history, and what some of the practices and material media are that shape autobiographical and social memory. Early Cypriot prehistory is characterised by a, largely, domestic landscape occupied by small‐scale communities, where public or monumental architecture as well as long‐lived tell sites are not explicitly attested. Rather than explaining away these ‘anomalies’, this thesis delves into the study of the ‘ordinary landscape’ of houses and communities in time and space and at different scales in accordance with our research aims. It, thus, diverges from the current archaeological research on memory and the monumental and regards architecture as a biographical object that encapsulates personal and communal histories. The analytical strategies that are employed in this study involve an examination of two closely related elements. First, the temporal depth of activities with regard to the life histories of buildings and people and how these intersect with larger patterns of social memory are explored. Secondly, through a topoanalysis, the spatiality and visual boundaries of remembering and forgetting, through the medium of architecture, are examined. Similar issues have recently attracted a lot of attention from many disciplines. In an attempt to link the various, often ambiguous, conceptualisations of memory – as a cognitive process, as a social construct or as an experiential domain – with archaeological ‘visibility’ and methodology this research utilises insights from a variety of cross‐disciplinary sources. This research is a contribution towards the past in the past approach by: a. building on these works and expanding our current understanding of issues of cultural transmission and memory by striking a better balance between ‘inscription’ and ‘incorporated practices’ social and biographical memory, material and ephemeral contexts (chapters 1, 4‐5). This is attempted by using an explicit multi‐scalar approach to the material and a practice‐based interpretative framework (chapters 2‐3); b. demonstrating contextually the limitations and possibilities of the theoretical endeavour in practical contexts through dealing with the ambiguities and incompleteness of archaeological assemblages, depositional patterns and stratigraphic sequences, as well as with palimpsests of activities in settlement contexts, with the underlying aim to understand the various dimensions of continuity and discontinuity (chapters 6‐8); c. critically examining concepts from a rapidly growing multi‐disciplinary literature and their often problematic applications to prehistoric material and juxtapose the Western model of memory with anthropological insights (chapter 9).

Thesis (Ph. D.)--University of North Texas, Dec., 2007. / Title from title page display. Includes bibliographical references.

Thesis (M. S.)--Electrical and Computer Engineering, Georgia Institute of Technology, 2009. / Committee Chair: Lee, Hsien-Hsin S.; Committee Member: Cahtterjee,Abhijit; Committee Member: Mukhopadhyay, Saibal; Committee Member: Pande, Santosh; Committee Member: Yalamanchili, Sudhakar.

Thesis (M Arch)--Montana State University--Bozeman, 2010. / Typescript. Chairperson, Graduate Committee: David Fortin. Includes bibliographical references (leaves 117-122).

Themes on a Fallow House is a study of architecture and its effect on the way we create collective memories, accumulate material culture, and associate ourselves with place. Through experimenting with analog processes and materials, this work aims to suggest that architecture acts as a repository for memories. Yet, amidst an ever changing society and landscape, the inevitable degradation of architecture, and therefore the memories accumulated within its material, will eventually occur. This degradation is the tool which allows for new meanings to be transferred onto objects and places, thus they live on. / Master of Architecture / Themes on a Fallow House is a study into how architecture relates to memory both for the individual and the collective. Using my Grandfather's farm as a place of inquiry, I experiment with analog processes and materials to further examine the ways in which architecture influences us and why certain places might matter to us. Furthermore, Themes on a Fallow House begins a discussion on why certain places might live on as artifacts of a past time, while others crumble and fade into the past.

Cultural identity is an issue that has concerned Portuguese artistic thought in a subliminal way ever since the end of the XIX century, with influences in architecture. Raul Lino, at the beginning of the last Century, was one of those who tried in a conscious manner, to tackle this problem both at the practical and theoretical level. Nevertheless, he never lived to see the real meaning of his proposal fully understood, not even after the retrospective of his work in the 1970 Exhibition in Lisbon. The intention behind this "Letter" is to give continuity to the perspective first formulated by him, starting from the analysis of one of the most significant accomplishments in the history of the Portuguese architecture, the INQUERITO into vernacular architecture. Having guaranteed the importance of cultural identity versus architecture as the driving force of the research, via the testimonies given by a host of relevant personalities in Portuguese cultural life, and evaluated the antecedents and convergences of the identity issue, the research field was defined as well as the methodology. This is based on a qualitative model which rendered the investigation viable, enabling the echoes of the INQUERITO to be appreciated in the architecture of the 1960s. The INQUERITO is therefore the subject of analysis and evaluation, as an instrument of research into the unique Portuguese vernacular architecture. The erudite architecture of its "protagonists" is also evaluated using similar criteria to assess the concerns with identity issue, mostly of a qualitative nature, as a corollary to the sensitivity side of the same issue. Finally, the importance of the identity perspective gave rise to an attempt at projecting the findings onto the teaching of architecture, so as to improve on the necessary humanization of relationships between real places and all their actors.

Thesis (M.Arch.)--University of Detroit Mercy, 2007. / "30 April 2007". Includes bibliographical references (p. 118-122).

Thesis (M.Arch.)--University of Detroit Mercy, 2005. / "2 May 2005".

Honors Project--Smith College, Northampton, Mass., 2010. / Includes bibliographical references (p. 30-31).

Thesis (M.Arch.)--University of Detroit Mercy, 2007. / Includes bibliographical references (p. 115-116).