Washington, D.C. is a city that is designed to serve an entire nation; yet, as a result of this, its own history and people can seem to be lost in the shadow of the federal city. With an abundance of museums throughout the city, the museum that is needed, but no longer exists, is one for the District itself. This omissionleaves a tremendous gap in historical knowledge and no representation focused on the character of the city itself. How can we fulfill this need in a way that is unique to this specific city and would provide more than an exhibit by allowing people to be surrounded by and contribute to the accumulated evolution of their history? Adaptive reuse encourages the gradual unearthing of historical inspiration, which allows representation of existing and past local populations. For my thesis, I sought to fulfill this need by turning to the existing fabric of the city, learning from it, and eventually employing adaptive reuse techniques to unify the existing framework with the new program. / Master of Architecture / In a city such as Washington, D.C., which is filled with history and which focuses on historical knowledge and representation, the history and fabric of the city itself can seem to be overshadowed. By looking at the existing character of D.C. and its architecture as the foundation and using adaptive reuse techniques, the neighborhoods could be brought to the forefront and the true backbone of D.C. could shine. This would better represent a city that has been much more than a tourist attraction, but a home, and thus represent the people who have created this rich history. The people within the District need an outlet to regain ownership of their history, create a place to learn about their city, and share what makes the larger District so unique. For my thesis, I sought to explore this history and provide this outlet by repurposing an existing building within the city.

Esta dissertação tem por objetivo abordar historicamente a construção física e simbólica da Casa do Bandeirante, um museu evocativo da época das bandeiras. Ela foi inaugurada em 1955, no encerramento das comemorações do IV Centenário da Cidade de São Paulo, tendo sido sua restauração realizada sob responsabilidade da comissão organizadora desses festejos. Primeira das \"casas históricas\" pertencente à Prefeitura Municipal, compõe o atual acervo arquitetônico do Museu da Cidade. Este projeto analisa o período que se estende de 1954 a 1964, durante a primeira fase do museu, sob a direção de Paulo Camilher Florençano, quando o espaço fora projetado para ser um cenário do modo de vida paulista durante o período colonial. Naquele momento a Casa do Bandeirante tratava heroicamente o \"ciclo das bandeiras\", mitificando-o, a partir de uma exposição por meio do period room, eixos conceituais da exposição que lá esteve até 1978. São objetivos desta dissertação compreender e analisar o processo conceitual e institucional de criação da Casa do Bandeirante pela Prefeitura de São Paulo, através da Comissão do IV Centenário da Cidade de São Paulo, problematizar a primeira montagem curatorial, com a formulação de uma identidade paulista calcada no mito sertanista e seus referenciais museológicos, a formação e o perfil de seu acervo de peças históricas. / This dissertation aims to approach, historically, the physical and symbolic construction of The Bandeirante House, an evocative museum of the time of \"bandeiras\" (former Brazilian settlers). It was inaugurated in 1955, at the end of the celebrations of the IV Centenary of the City of São Paulo, with its restoration being carried out under the responsibility of the organizing committee of those festivities. The first of the \"historical homes\" belonging to the city hall, it is part of the current architectural collection of São Paulo\'s city museums. The time covered in this project extends from 1955 to 1964, during the first period of the Museum, under the direction of Paul Camilher Florençano, when this cultural space was designed to present a scenario of the way of living in São Paulo during the colonizer period. At that moment, The Bandeirante House conceived heroically the \"Bandeirante Cycle\", dealing with as a myth by the presentation of an exhibition by period room, conceptual guidelines of the exhibition held until 1978. The goals of this dissertation are to analyze the conceptual and institutional creating process of the Bandeirante House, to understand and document its acquisition policy and to discuss the first long term exhibition of the institution, based the \"sertanista myth\" and its museum references.

Esta dissertação tem por objetivo abordar historicamente a construção física e simbólica da Casa do Bandeirante, um museu evocativo da época das bandeiras. Ela foi inaugurada em 1955, no encerramento das comemorações do IV Centenário da Cidade de São Paulo, tendo sido sua restauração realizada sob responsabilidade da comissão organizadora desses festejos. Primeira das \"casas históricas\" pertencente à Prefeitura Municipal, compõe o atual acervo arquitetônico do Museu da Cidade. Este projeto analisa o período que se estende de 1954 a 1964, durante a primeira fase do museu, sob a direção de Paulo Camilher Florençano, quando o espaço fora projetado para ser um cenário do modo de vida paulista durante o período colonial. Naquele momento a Casa do Bandeirante tratava heroicamente o \"ciclo das bandeiras\", mitificando-o, a partir de uma exposição por meio do period room, eixos conceituais da exposição que lá esteve até 1978. São objetivos desta dissertação compreender e analisar o processo conceitual e institucional de criação da Casa do Bandeirante pela Prefeitura de São Paulo, através da Comissão do IV Centenário da Cidade de São Paulo, problematizar a primeira montagem curatorial, com a formulação de uma identidade paulista calcada no mito sertanista e seus referenciais museológicos, a formação e o perfil de seu acervo de peças históricas. / This dissertation aims to approach, historically, the physical and symbolic construction of The Bandeirante House, an evocative museum of the time of \"bandeiras\" (former Brazilian settlers). It was inaugurated in 1955, at the end of the celebrations of the IV Centenary of the City of São Paulo, with its restoration being carried out under the responsibility of the organizing committee of those festivities. The first of the \"historical homes\" belonging to the city hall, it is part of the current architectural collection of São Paulo\'s city museums. The time covered in this project extends from 1955 to 1964, during the first period of the Museum, under the direction of Paul Camilher Florençano, when this cultural space was designed to present a scenario of the way of living in São Paulo during the colonizer period. At that moment, The Bandeirante House conceived heroically the \"Bandeirante Cycle\", dealing with as a myth by the presentation of an exhibition by period room, conceptual guidelines of the exhibition held until 1978. The goals of this dissertation are to analyze the conceptual and institutional creating process of the Bandeirante House, to understand and document its acquisition policy and to discuss the first long term exhibition of the institution, based the \"sertanista myth\" and its museum references.

In the field of face recognition one challenge is to recognize individuals in photographs taken of the person in profile. In this project it was investigated whether 3D face reconstructions could improve the face recognition results in these cases. Images used in the experiments were historical images of persons who lived in Stockholm during the late nineteenth to early twentieth centuries. Additionally, face frontalization algorithms were applied to images taken in profile-view of the person to investigate if this idea could improve the results of 3D face reconstruction of images in profile-view. The results of the experiments showed that using 3D face reconstructions did not improve the results of face recognition. However, in most cases the individuals in the 3D face reconstructions could be recognized. Furthermore, experiments also showed that face frontalization did not improve the results of the 3D face reconstructions of images taken in profile angle. Aside from these results, the thesis demonstrates a, to the best of our knowledge, new approach to evaluate 3D face reconstruction results by using face recognition.

Master thesis solves construction and technological project which deals with data processing, documentation and technological processes of building reconstruction and extension realization in Muzeum of Česká Třebová. The work contains technological building study, assessment of relationships to the wider transportation routes, time and financial plan, building-site organization project, design of the main building machines and mechanisms, technological prescriptions for excavation work and micropile injection, occupational safety and health protection management, project calculation budget.