The topic of this thesis is an adaptation of non-functioning objects, relics of ironworks owned by Vítkovice Machinery Group. Clarified is theoretical ambiguity regarding the forms of industrial heritage conservation as a major cause of late onset of their conversion. Analysed are some contemporary phenomena accompanying the preparation for the conversion in practice. Its delayed but relatively fast process of conversion is examined. Against the background of emerging European trend the change of functions of old buildings is evaluated to meet the cultural needs of modern society. The goal of the thesis is to give a clear and logical picture of problems and situation. The analysis of both of those elements gives assumptions suitable for formulating of conclusions that may be taken as certain warnings and possible recommendations to potential investors.

The purpose of this study was to investigate how the church verger relates to the cultural heritage in their churches and how the churches are affected by their cultural heritage. I also wanted to investigate the problem in preserving a heritage that doubles as a living religious room. Finally, I wanted to know how the verger's work is influenced by the dual responsibility towards the parish and county government. In the study the vergers were interviewed about their workplace and work situation. I also interviewed the antiquarian in Växjö diocese. I then analyzed the results by using Svante Beckman’s concept categories and value typology of cultural heritage. I drew the conclusion that the church instills a feeling based on historical values. I also concluded that the verger’s knowledge and care of the church protects the cultural heritage values. This knowledge is in itself a cultural heritage that needs to be nurtured and protected. Finally, my study found that the county government and the heritage law do not cater to the needs of parishes today. The requirements demanded by the county government have become yet another stress factor in the verger’s everyday.

Orientador: Maria Tereza Duarte Paes / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Geociências / Made available in DSpace on 2018-08-26T21:37:07Z (GMT). No. of bitstreams: 1 Santos_AlbertoLuizdos_M.pdf: 4071606 bytes, checksum: d68a9b418def28c6e004c62d90c8fb7a (MD5) Previous issue date: 2014 / Resumo: Esta pesquisa propõe uma interpretação geográfica de tombamentos estabelecidos pelo sistema normativo de proteção ao patrimônio cultural. Buscamos compreender os processos que envolvem o tombamento do Núcleo Original do bairro da Freguesia do Ó / SP, através da Resolução nº 46 / 92 do CONPRESP, que elenca um conjunto de vias, logradouros, praças e edificações como bens culturais na cidade de São Paulo. Considerando que o patrimônio cultural possui valor simbólico inerente e que, na mesma medida, os processos de atribuição destes valores se dão através das práticas socioespaciais cotidianas, destacamos duas categorias geográficas de sustentação para nossa interpretação: a refuncionalização e as territorialidades. A primeira delas por acreditarmos que os bens culturais materiais representam um acervo de objetos com funções urbanas específicas ao serem tombados. Uma vez que um conjunto de valores justifica tais tombamentos, este processo pode implicar numa valorização econômica, incentivando modificações no uso do solo. Um bem cultural se constitui, simultaneamente, através das contínuas ressignificações manifestadas pelos grupos sociais, que transcendem o conteúdo e o contexto histórico do próprio tombamento. Estas ressignificações se expressam em valores simbólicos, que podem ser compreendidos através das múltiplas territorialidades manifestadas por estes grupos sociais. Por tratarmos, especificamente, de um conjunto de edificações nos arredores de dois Largos, que possuem um intenso processo de apropriação por moradores, visitantes e transeuntes, optamos por partilhar destas vivências através de trabalhos de campo e metodologias qualitativas. Assim pudemos estar diante da intersubjetividade que envolve o cotidiano dos Largos Nossa Senhora do Ó e Largo da Matriz Velha e elencarmos um conjunto de manifestações simbólicas que se apresentam como acervo de bens culturais da Freguesia do Ó. Esta pesquisa sustenta-se teórica e metodologicamente através da dimensão cultural do espaço geográfico / Abstract: This research proposes a geographic comprehension about the systematization of heritage listed that is established by the protection of cultural heritage. Through the Resolution nº 46 / 92 of CONPRESP that proclaims several streets, squares, buildings as São Paulo cultural heritage, we try to understand the process that had recognized the original core of Freguesia do Ó/SP as a historical landmark. Once that the cultural heritage has inborn symbolic value, to the same extend, the assign values process occurs through the daily social spatial practices, highlighting two geographic categories that support our understanding: refunctionalisation and the territorialities. The first of them we use for considering that material and cultural good represent a collection of objects that have specific urban functions when they became a cultural heritage. When a group of values justified the registered of the buildings as a cultural heritage, this process can imply an economic appreciation what incentive changes in land uses. A cultural good consist in a continue framings and reframing that are manifested for the social groups that transcends the contents and the historical context of the own cultural heritage process. Those framings and reframing are expressed in symbolic values that can be understood trough the multiple territorialities manifested by those social groups. We consider a specific group of buildings nearby the two squares that have a deep appropriation process by the dwellers, guests and passers that is why we choose to share those experiences trough the work fields and quantitative methodologies. In that way we could stand before the intersubjectivities that evolves the Largo Nossa Senhora do Ó and Matriz Velha diurnal and list a set of symbolic manifestation that are showed as a collection of cultural goods of Freguesia do Ó. This research is sustained theoretically and methodologically through a cultural dimension of geographic space / Mestrado / Análise Ambiental e Dinâmica Territorial / Mestre em Geografia

This report studies three storytelling subprojects within the field of cultural heritage to see how storytelling, co-design and cultural heritage can strengthen immigrants’ personal identity and contribute to their socio-cultural integration. It also aims to examine what factors contribute to a successful collaboration. The subprojects about local homeland culture include filmmaking with newly arrived children at Skövde Municipality’s mother tongue and reception unit, a storytelling project at Hjo folk high school and a digital book of recipes and stories within Cross media higher vocational education program at DaCapo in Mariestad Municipality. To answer the research questions semi-structured interviews were conducted with participants, potential users, and professionals. Additionally, a survey was carried out with participants of one of the subprojects.

El siguiente trabajo de investigación presenta un previo análisis al proyecto de tesis para obtener el título de bachiller en arquitectura. Se presentará a continuación un estudio que sustenta primeramente la tipología arquitectónica siendo este un centro cultural de nivel distrital que hace referencia a la cultura peruana, en segundo lugar la justificación del lugar donde se implantara la propuesta arquitectónica , tomando como lugar la importante ciudad de Cusco, patrimonio cultural. En tercer lugar, el énfasis arquitectónico escogido va en relación al lugar en este caso siendo Cusco una ciudad que denota cultura e historia, el énfasis escogido para la propuesta es proyecto es ‘’La arquitectura de integración en un contexto histórico patrimonial’’. Con lo que respecta al análisis de la tipología y énfasis escogido, se realizó un estudio de quince proyectos referenciales (tipología arquitectónica) y cinco proyectos (énfasis arquitectónico) los cuales mostraban diferentes estrategias arquitectónicas, las cuales servirán de ejemplo para realizar el proyecto de Centro Cultural Distrital en Cusco. / The following research paper presents a previous analysis of the thesis project to obtain the bachelor's degree in architecture. A study that supports the architectural typology will first be presented, this being a district-level cultural center that refers to Peruvian culture, secondly the justification of the place where the architectural proposal will be implemented, taking as its place the important city of Cusco, cultural heritage. Third, the architectural emphasis chosen is in relation to the place in this case being Cusco a city that denotes culture and history, the emphasis chosen for the proposal is a project is ‘’ The architecture of integration in a historical heritage context ’’. With regard to the analysis of the type and emphasis chosen, a study of fifteen referential projects (architectural typology) and five projects (architectural emphasis) were carried out, which showed different architectural strategies, which will serve as an example to carry out the Center project Cultural District in Cusco. / Trabajo de investigación

Concerns over the negative impact of large-scale developments are becoming more prominent in an ever-evolving world. Linked to these concerns are the indigenous communities who continue to interact with their heritage present in the surrounding landscape, an interest that should be protected through the implementation of legislation that is truly representative of a country’s population. The comparative study presented in this dissertation was conducted at two locations; Dumezulu in South Africa and Jokkmokk in Sweden. I interviewed the relevant stakeholders in order to understand the impact each group had on the heritage resources present in the respective study areas. In South Africa, I assessed the relationship of key stakeholders (community members, Traditional Council, and the Ray Nkonyeni Municipality) involved in the construction and future management of the tourism centre. It became evident that there were a number of misunderstandings between these stakeholders. The Municipality, as a government structure, seemed to have an upper hand in terms of power. While the tourism development was the initiative of the Dumezulu community, the Municipality has the final say in decision-making because it raised and allocated part of the funding. Furthermore, South African heritage legislation does not seem to favour communities, giving more power to the state through its ownership of heritage resources. In Sweden, I interviewed and spoke to relevant authorities on Sami heritage issues. These were people who had worked closely with the Sami population. The heritage issues present in the South African case study did not differ drastically to the issues present in the Swedish case study. Inequality is not limited to South Africa, but Sweden too, where the Sami population does not command power over decisions linked to their cultural heritage resources. While the Sami have attracted interest for tourism purposes, a large number of these visitors are still mainly driven by stereotypes. As in the case of South Africa, the Swedish heritage legislation does not make special allowances for the Sami to manage their heritage resources in ways they consider appropriate for them. What I conclude is that there is the need for increased appreciation of Traditional Management Systems. / Dissertation (MA)--University of Pretoria, 2020. / Anthropology and Archaeology / MA / Unrestricted

This study examines the long-established bi-weekly market held on Cape Town's Grand Parade to see if it constitutes living heritage. If it does, how is it connected with the urban landscape it inhabits, and how might it be acknowledged or safeguarded? Heritage practice in South Africa has long focused on the fabric of the historic built environment (not on the people using it or the uses to which it is put) with conservation methods tailored to that end. The importance of living heritage—or intangible cultural heritage—is increasingly accepted, particularly as a form of redress for the imbalance caused by the prioritisation of coloniser history. There is a growing sense of urgency, driven by those whose living heritage has been overlooked or ignored, to address this. In this study, I combine on-the-ground analysis of today's Wednesday/Saturday market drawn from interviews with traders, with a deep reading of various official and academic archives. This is interpreted through the most recent theoretical thinking regarding living heritage, together with the international charters, national laws and local policies that apply to the real world of Cape Town today. I determine that the market is, indeed, living heritage, and that it is important to recognise it is such. I argue that the heritage binary of intangible and tangible represents a false dichotomy, and that it is essential to consider heritage as a whole, with living heritage being indivisible from the urban landscape in which it exists. However, I identify the potential pitfalls that formal protection might bring to a living, dynamic system, and find that the significance values of tangible and living heritage require different actions to conserve and safeguard them. I show how, while the will to identify and acknowledge South Africa's living heritage has been expressed at the highest policy levels, the ensuing legislation, implementation policies and working practices of heritage practitioners are insufficient to deliver on this. I suggest that, to reflect this better in our management of heritage resources, a more trans-disciplinary approach is needed, one with processes and methodologies that accommodate diversity in the interpretation of cultural value and emphasise stakeholder involvement.

La presente investigación tiene como objetivo general diseñar una colección de vestidos de novia a partir del análisis teórico y visual de las características del bordado ayacuchano. El bordado ayacuchano se enmarca dentro de la artesanía peruana, y más precisamente, dentro de la artesanía “textil” peruana, la cual es considerada como la actividad artesanal de mayor desarrollo y práctica común en nuestro país que se transmite de generación en generación, donde las mujeres mayores les enseñan a sus hijas el arte del bordado. El origen del bordado Ayacuchano se remonta al distrito de Luricocha en la provincia de Huanta, zona donde hasta el día de hoy se ha mantenido la tradición de bordar y tejer mantas multicolores. / The present research has as general objective to design a collection of wedding dresses from the theoretical and visual analysis of the characteristics of Ayacuchano embroidery. Ayacuchano embroidery is part of Peruvian craftsmanship, and more precisely, within Peruvian "textile" craftsmanship, which is considered as the most developed and common craft activity in our country that is passed down from generation to generation, where older women teach their daughters the art of embroidery. The origin of Ayacuchano embroidery dates back to the district of Luricocha in the province of Huanta, an area where to this day the tradition of embroidering and weaving multicolored blankets has been maintained. / Trabajo de investigación

El presente trabajo consta de la propuesta del Centro Cultural ubicado en la ciudad de Pisco, que trae consigo el hecho de querer difundir el interés por las artes, música y el desarrollo de habilidades y talentos que complementen el crecimiento personal. El arte y la cultura forman parte importante de una sociedad y en la mayoría de casos, logra contribuir en la mejora de la población como comunidad que aporta al desarrollo de su territorio. Esta provincia presenta un gran número de niños y jóvenes que necesitan además de una buena educación, el incentivo por desarrollar otras destrezas que puedan encaminarlos en su desarrollo personal y profesional, tema que actualmente no está resuelto. Tras el Terremoto del 2007, se generó un gran retraso en su desarrollo, lo que resultó que las autoridades tengan un mayor enfoque en el sistema de vivienda y dejen de lado los temas educativos, culturales recreacionales y recuperación de espacios públicos. Este proyecto busca ser un ícono memoria de la ciudad, ya que, tras la tragedia del 2007, se perdió gran parte del patrimonio cultural de este Centro Histórico. Entonces la propuesta toma las características arquitectónicas de este lugar, además de acompañarlo con la materialidad del sitio, paleta de colores y vegetación, que realza este énfasis en el proyecto. Adicionalmente, se otorga espacios públicos en los diferentes niveles, que hacen que el proyecto se enriquezca y que pueda ser parte importante no solo del recreo, sino también parte de la educación intercultural diaria de la población. / The present work consists of the proposal of the Cultural Center located in the city of Pisco, which brings with it the fact of wanting to spread interest in the arts, music and the development of skills and talents that complement personal growth. Art and culture are an important part of a society and in most cases, it contributes to the improvement of the population as a community that contributes to the development of its territory. This province presents a large number of children and young people who need, in addition to a good education, the incentive to develop other skills that can guide them in their personal and professional development, an issue that is currently not resolved. After the Earthquake of 2007, there was a huge delay in its development, which resulted in the authorities having a greater focus on the housing system and neglecting educational, cultural and recreational issues including the recovery of public spaces. This project seeks to be a memory icon of the city, since, after the tragedy of 2007, much of the cultural heritage of this Historic Center was lost. Therefore, the proposal takes the architectural features of this place, in addition to accompanying it with the materiality of the site, color palette and vegetation, which enhances this emphasis on the project. Additionally, public spaces are given at different levels, which make the project richer and can be an important part not only of recreation, but also part of the daily intercultural education of the population. / Tesis

This research focuses on how many African cultural objects found their way to Western museums or private collections. Therefore the author examines to what extent African states have succeeded in their quest for the return of their cultural objects and what the inadequacies in the current international legal regime for the return of cultural objects are. Can the return of African cultural objects properly be identified as a human right issue and will such identification present better chances for their return? Also look at how existing international human rights mechanisms are applied in the quest for the return of African cultural objects. Focuses on the specific African countries of Nigeria and Ethiopia in respect of their efforts towards the return of their tangible and moveable cultural heritage. / Thesis (LLM (Human Rights and Democratisation in Africa)) -- University of Pretoria, 2007. / A Dissertation submitted to the Faculty of Law University of Pretoria, in partial fulfilment of the requirements for the degree Masters of Law (LLM in Human Rights and Democratisation in Africa). Prepared under the supervision of Prof. Andreas Eshete of the Faculty of Law, University of Addis Ababa, Ethiopia. / http://www.chr.up.ac.za/ / Centre for Human Rights / LLM