In 2003, UNESCO adopted the Convention for the Safeguarding of the Intangible Cultural Heritage to officially recognize the value of non-physical heritage. Previously, established conservation standards focused on physical heritage, namely historic architecture, which generally reflected the values of western societies but did not necessarily accommodate other forms of cultural heritage. The adoption of the Convention signified a shift towards a more inclusive approach. My thesis grounds this international discussion in a locality by examining conservation issues and practices in Vancouver, British Columbia. My thesis contains two key findings: (1) Echoing international criticism of established conservation standards, Vancouver’s heritage conservation policies tend to systemically favour aesthetically significant and structurally robust architecture. As a result, certain histories without existing architecture become obsolete, leaving a selective history in Vancouver’s everyday landscape. (2) At the same time, Vancouver has also hosted a number of community history projects. These recent projects have been able to recover fading memories of this landscape through storytelling, a form of intangible heritage, and to reconnect these histories to the locations where they originated (what Pierre Nora (1989) calls milieux de mémoire). My recommendations include a formal integration of intangible heritage projects with the established heritage conservation program and suggest opportunities to achieve this integration. These recommendations hope to encourage a more inclusive approach that recognizes a place’s history contains diverse, coexisting and overlapping narratives, and acknowledges the parts of this history that may be damaged by forces of gentrification, urban renewal and colonization. By approaching the city’s landscape as a palimpsest, inclusive heritage conservation practice can make Vancouver more than a site of residence with aesthetic character, but a place that owns its past.

In 2003, UNESCO adopted the Convention for the Safeguarding of the Intangible Cultural Heritage to officially recognize the value of non-physical heritage. Previously, established conservation standards focused on physical heritage, namely historic architecture, which generally reflected the values of western societies but did not necessarily accommodate other forms of cultural heritage. The adoption of the Convention signified a shift towards a more inclusive approach. My thesis grounds this international discussion in a locality by examining conservation issues and practices in Vancouver, British Columbia. My thesis contains two key findings: (1) Echoing international criticism of established conservation standards, Vancouver’s heritage conservation policies tend to systemically favour aesthetically significant and structurally robust architecture. As a result, certain histories without existing architecture become obsolete, leaving a selective history in Vancouver’s everyday landscape. (2) At the same time, Vancouver has also hosted a number of community history projects. These recent projects have been able to recover fading memories of this landscape through storytelling, a form of intangible heritage, and to reconnect these histories to the locations where they originated (what Pierre Nora (1989) calls milieux de mémoire). My recommendations include a formal integration of intangible heritage projects with the established heritage conservation program and suggest opportunities to achieve this integration. These recommendations hope to encourage a more inclusive approach that recognizes a place’s history contains diverse, coexisting and overlapping narratives, and acknowledges the parts of this history that may be damaged by forces of gentrification, urban renewal and colonization. By approaching the city’s landscape as a palimpsest, inclusive heritage conservation practice can make Vancouver more than a site of residence with aesthetic character, but a place that owns its past.

In 2003, UNESCO adopted the Convention for the Safeguarding of the Intangible Cultural Heritage to officially recognize the value of non-physical heritage. Previously, established conservation standards focused on physical heritage, namely historic architecture, which generally reflected the values of western societies but did not necessarily accommodate other forms of cultural heritage. The adoption of the Convention signified a shift towards a more inclusive approach. My thesis grounds this international discussion in a locality by examining conservation issues and practices in Vancouver, British Columbia. My thesis contains two key findings: (1) Echoing international criticism of established conservation standards, Vancouver’s heritage conservation policies tend to systemically favour aesthetically significant and structurally robust architecture. As a result, certain histories without existing architecture become obsolete, leaving a selective history in Vancouver’s everyday landscape. (2) At the same time, Vancouver has also hosted a number of community history projects. These recent projects have been able to recover fading memories of this landscape through storytelling, a form of intangible heritage, and to reconnect these histories to the locations where they originated (what Pierre Nora (1989) calls milieux de mémoire). My recommendations include a formal integration of intangible heritage projects with the established heritage conservation program and suggest opportunities to achieve this integration. These recommendations hope to encourage a more inclusive approach that recognizes a place’s history contains diverse, coexisting and overlapping narratives, and acknowledges the parts of this history that may be damaged by forces of gentrification, urban renewal and colonization. By approaching the city’s landscape as a palimpsest, inclusive heritage conservation practice can make Vancouver more than a site of residence with aesthetic character, but a place that owns its past. / Applied Science, Faculty of / Community and Regional Planning (SCARP), School of / Graduate

A partir da década de 1960, com o surgimento do novo paradigma da democracia sociocultural, diversas críticas direcionaram-se aos museus e à museologia e deram base para o surgimento de um movimento museológico internacional denominado Nova Museologia, oficializado em 1984 no I Atelier Internacional Ecomuseus/Nova Museologia, realizado em Québec (Canadá). A Nova Museologia enfatizou a vocação social dos museus e propôs diversas renovações teóricas e metodológicas ao campo museológico estabelecido. No Brasil, observamos repercussões desse movimento principalmente a partir da década de 1980, com a redemocratização do país. Paralelamente à renovação de museus já consolidados, surgem novas iniciativas, denominadas majoritariamente ecomuseus e museus comunitários, que objetivam, através de uma curadoria coletiva e da promoção de práticas ativas, populares, participativas, comunitárias e experimentais, a valorização, preservação e difusão dos patrimônios locais (Natural, Cultural, Material e Imaterial), garantir que o museu atue como espaço de representação e promova, a partir da contextualização do patrimônio, a compreensão, o questionamento, a conscientização e a transformação da realidade. O atual projeto de pesquisa teve como objetivos: revisar termos e conceitos ligados à Nova Museologia e a essa nova tipologia de museus em bibliografia pertinente ao tema, relacionando e confrontando autores diversos; realizar um mapeamento dos museus comunitários, ecomuseus e demais iniciativas de memória e patrimônio de base comunitária que se compreendem enquanto museus no contexto brasileiro; elaborar um panorama-síntese para uma melhor compreensão da diversidade dessa tipologia de museus. / Since the 1960\'s, with the emergence of the new paradigm of socio-cultural democracy, several criticisms were directed at Museums and Museology and this process triggered the emergence of an international museological movement called New Museology, made official in 1984 at the I Atelier International Ecomuseums / New Museology, held in Quebec (Canada). The New Museology emphasized the social vocation of museums and proposed several theoretical and methodological renewals to the established museological field. It is possible to observe repercussions of this movement in Brazil mainly from the decade of 1980, with the redemocratization of the country. Parallel to the renovation of already consolidated museums, new museological experiences are emerging, mainly called museums community and ecomuseums, which aim, through collective curation and the promotion of active, popular, participatory, community and experimental practices, the valorization, preservation and diffusion of local Heritage (Natural, Cultural, Material and Immaterial), to ensure that the museum acts as a space for representation and to promote, from the contextualisation of heritage, understanding, questioning, awareness and transformation of reality. The current research project aimed: revise terms and concepts related to New Museology and this new typology of museums in relevant bibliography, relating and confronting diverse authors; to carry out a cartography of community museums, ecomuseums and initiatives of memory and community-based heritage that is understood as a museum in the Brazilian context; elaborate a panorama synthesis for a better understanding of the diversity of this typology of museums.

A partir da década de 1960, com o surgimento do novo paradigma da democracia sociocultural, diversas críticas direcionaram-se aos museus e à museologia e deram base para o surgimento de um movimento museológico internacional denominado Nova Museologia, oficializado em 1984 no I Atelier Internacional Ecomuseus/Nova Museologia, realizado em Québec (Canadá). A Nova Museologia enfatizou a vocação social dos museus e propôs diversas renovações teóricas e metodológicas ao campo museológico estabelecido. No Brasil, observamos repercussões desse movimento principalmente a partir da década de 1980, com a redemocratização do país. Paralelamente à renovação de museus já consolidados, surgem novas iniciativas, denominadas majoritariamente ecomuseus e museus comunitários, que objetivam, através de uma curadoria coletiva e da promoção de práticas ativas, populares, participativas, comunitárias e experimentais, a valorização, preservação e difusão dos patrimônios locais (Natural, Cultural, Material e Imaterial), garantir que o museu atue como espaço de representação e promova, a partir da contextualização do patrimônio, a compreensão, o questionamento, a conscientização e a transformação da realidade. O atual projeto de pesquisa teve como objetivos: revisar termos e conceitos ligados à Nova Museologia e a essa nova tipologia de museus em bibliografia pertinente ao tema, relacionando e confrontando autores diversos; realizar um mapeamento dos museus comunitários, ecomuseus e demais iniciativas de memória e patrimônio de base comunitária que se compreendem enquanto museus no contexto brasileiro; elaborar um panorama-síntese para uma melhor compreensão da diversidade dessa tipologia de museus. / Since the 1960\'s, with the emergence of the new paradigm of socio-cultural democracy, several criticisms were directed at Museums and Museology and this process triggered the emergence of an international museological movement called New Museology, made official in 1984 at the I Atelier International Ecomuseums / New Museology, held in Quebec (Canada). The New Museology emphasized the social vocation of museums and proposed several theoretical and methodological renewals to the established museological field. It is possible to observe repercussions of this movement in Brazil mainly from the decade of 1980, with the redemocratization of the country. Parallel to the renovation of already consolidated museums, new museological experiences are emerging, mainly called museums community and ecomuseums, which aim, through collective curation and the promotion of active, popular, participatory, community and experimental practices, the valorization, preservation and diffusion of local Heritage (Natural, Cultural, Material and Immaterial), to ensure that the museum acts as a space for representation and to promote, from the contextualisation of heritage, understanding, questioning, awareness and transformation of reality. The current research project aimed: revise terms and concepts related to New Museology and this new typology of museums in relevant bibliography, relating and confronting diverse authors; to carry out a cartography of community museums, ecomuseums and initiatives of memory and community-based heritage that is understood as a museum in the Brazilian context; elaborate a panorama synthesis for a better understanding of the diversity of this typology of museums.