This creative project has investigated the development potential of the "trackside" area as defined in the project. The project site is located on the south end of the central business district of Muncie. The area contains many historically significant buildings such as; the Federal Building, Robert's Hotel, Cohen Block, Marsh Building, Goddard Warehouse and Union Station to name a few. The study included an inventory process of existing conditions, urban spaces, building significants, figure ground study, assets and liabilities and analysis.This inventory process formed the basis for the urban design proposal which indicates the development potential of the area. The overall proposal is broken down into four sub-areas for easier explanation. These areas are named for the function or character trait that is significant to each: Conference Center Area, Plaza Node, Passive Cultural Center and the Railroad Node. In addition to a proposal for each subarea, the study indicates a concept analysis explaining the development idea. / Department of Architecture

Since territorial days, agriculture has been an important and vital aspect of life in Indiana. Developments in the field gradually transformed agriculture from a way of life into an agribusiness, thus positioning agriculture in the mainstream U.S. economy. One of the phenomena that developed as a result of agriculture's evolution was the practice of constructing round and polygonal barns. Such structures were intended to increase the efficiency and thus economic return for the farmers.Between the years 1850 and 1936, some 222 round and polygonal barns were built in the state of Indiana, probably more than in any other state in the Union. Today, only 110 of the barns remain and three to four are destroyed annually. The reasons for the destruction of these agricultural icons are varied but often new machinery and farm practices have rendered the barns obsolete. Additionally, in these economic times, many owners cannot justify spending the money to restore what they consider to be interesting but impractical structures.A large number of owners, however, are interested in saving their round or polygonal barns but are uninformed as to where to turn for help. Therefore, it is necessary to give the barn owners guidance on the qualifications for the Investment Tax Credit Prcgram. These farmers want to know what actions the state and federal agency consider in keeping with the Secretary of the Interior's Standards and what the process entails.In response to this issue, this creative project will deal with preservation planning for Indiana's round and polygonal barns. The method of investigation will consist of documenting the overall history of the barns, compiling a survey of the barns that remain and developing a usable preservation plan. This plan will deal with specifics as to suitable replacement materials for roofs and walls, adapting interior spaces to accommodate modern uses and an explanation of the application process for the Investment Tax Credit program. The research and suitability analysis will be developed in conjunction with authorities at the Indiana Division of Historic Preservation and Archaeology, specifically Frank Hurdis and David Kroll.In summary, I feel strongly that my chosen field of preservation needs to address the problem of saving structures in a more proactive way. Preservationists have been accused, justifiably so, of merely asking for people to spend vast sums of money to save structures but not offering any viable action plan. I feel that this document is at least a step in the direction of giving these round and polygonal barn owners a practical and understandable guide for saving an important part of our heritage. / Department of Architecture

In the field of historic preservation, a feasibility study should be done in the affected locale to determine what the public's feelings are toward a project. The preservation project must have the public's support to be successful.The results of the study can be analyzed to identify sources of opposition and support. It will also uncover issues to be dealt with in public directed support campaigns for the preservation project.The success of historic preservation projects can be much enhanced by the use of the feasibility study and the proper application of information which it uncovers.

xvi, 109 p. : ill., maps. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / The 'culture of sustainability' is rapidly developing across the United States and the globe. Prompted by economic and environmental crisis, the need to understand and implement sustainable practices has become the paramount objective of the building industry. Utilization of historic preservation as a response to sustainable development is an important aspect of the building profession not yet fully understood, though its roots are found in the "new life for old buildings" movement of the 1970s. This lack of understanding is, in part, due to limited research addressing the conservation and sustainability of the existing building stock within the United States. This thesis will provide case study research on successful sustainable preservation strategies that have been filtered through the National Register of Historic Places and the LEED Green Building Rating System, helping to define the opportunities for beneficial interchange. / Committee in Charge: Dr. Kingston W. Heath, Chair; Shannon M. Bell

As the "Revolution" threatened Rome during the final decades of the Republic, the many landscapes of the city — built, intellectual, social and natural — became inextricably linked within a confused cultural matrix. Vitruvius was not simply observing a set of places; he was living within spaces that, while having lost many of their explicit meanings over time, contained within them implicit, albeit unclear, cultural codes for him to ponder. Vitruvius in fact was not describing Roman architecture as it was; he was describing it as he wished it to be. There are a host of reasons to question the physical exactitude of his examples and subsequent models: The vantage point of a single individual living within a specific place at a particular moment in time was, and continues to be, limited at best. There are geographical and architectural inaccuracies that leave the reader wondering if Vitruvius actually saw much of what was inserted within the treatise. And Vitruvius would have generalized in order to arrive at the broad sets of tenets contained in the books. The "looseness" characterizing the tenets of Vitruvius is precisely what has enabled imaginative interpretations over the centuries. By including drawings within translations, the classical imagination has become fused with memories of what monuments should look like. Linked to this, translated versions of Vitruvius' treatise can be usurped in order to connect ruins more closely to Roman architectural ideals than they may have been in the first place. The translation and annotation project of Jean Gardet and Dominique Bertin in the 1550s is an example of how the treatise of Vitruvius was attached, inextricably, to the antiquities of southern France. The habit of turning to the De Architectura in order to produce a body of archaeological knowledge and in turn to provide "proof for the architectural reconstruction of classical monuments has persisted. In the end, the monument can serve as confirmation for the translated text, and the text re-confirms the monument. In Orange, the use of the treatise by architects has been retraced to show that the reconstructed theater does not correspond, in its rebuilt state, to that which would have stood in its place. Eventually, the habit of turning to Vitruvius was adapted to such an extent that it practically became invisible, with architects and archaeologists turning to it with little thought as to its contextual validity. This is probably why we see so few explicit references to its use in the literature documenting the re-building of monuments; it is only by retracing field notes that the extent to which it was used, even relatively lately, can be assessed. At the same time, classical archaeology has — and continues to — direct its attention to deblayage, remaniements, consolidations and in time, la sauvegarde. The present-day impetus for these activities is closely connected to history, heritage and ultimately, the notion of patrimoine. The difficulty today is that the more we re-build, whether it be for basic cultural consumption or within grander state agendas, the recourse to producing related bodies of knowledge to justify architectural plans has the potential to increase significantly. The understanding of classical architecture within the context of history and heritage must be met by a corresponding comprehension of its temporal, formal and social nature; Vitruvius' words, as I have stressed, do not necessarily depict a material architecture. Vitruvius' architect lived within an urban setting that was highly dynamic and not necessarily readily interpreted. And while Republican spaces derived from a need for function, efficiency, beauty and representation, they were not necessarily or completely redesigned each time they were reused; they were often modified to suit. Notions related to specific and ideal spaces were most probably stored within the minds of the multifaceted designers to be shaped according to particular sets of pre-existing cultural and built conditions as well as geographical settings. And to these, the craftspeople would have added personal interpretations. Today the problems arise when architects and archaeologists, eager to convince themselves and others of their theoretic, forget that we simply do not know what memories resided in the mind of Roman architects. / Graduate and Postdoctoral Studies / Graduate

The khanka or monastic mosque, was first established in Cairo by Saladin, founder of the Ayyubid dynasty, in 1171. Prior to this time, residents of the khanka, better known as Sufis - the ascetics of Islam were a group of mobile mystics who travelled widely seeking knowledge and truth of divinity and creation. It was during the Mamluk period (1250-1517) however, that the khanka gained popularity. It was normally constructed as part of a larger complex which housed other pious functions. It became commonplace among Mamluk sultans to attach their mausoleums to these khanka complexes, thus giving the khanka ultimate social and religious significance.Due to this significance, khankas, were among the first building types to face destruction upon the downfall of Mamluk rule. Unfortunatley, the deterioration of the khanka, institution has continued to this present day. In fact the khanka, institution and its architecture are slowly disappearing.In an effort to help preserve the vanishing architecture of the khanka institution, the khanka, of Sultan Al-Ashraf Barsbay, one of great architectural significance, was selected for the topic of this thesis. A reconstruction and restoration proposal is presented following complete historical, social and arcitectural research and documentaion. This proposal is based on a research methodology established for application to this and other historical buildings which may be approached for documentation and analysis.The reconstruction of the missing portions of the complex is important for the preservation of an almost extinct building type. The Khanka of Al-Ashraf Barsbay presents an interesting challenge in several repects: understanding the elements of Mamluk architecture as a distinct building style, identifying elements of islamic architecture, and finally applying this knowledge of architecture to the process of reconstruction within the framework of national and international preservation standards. / Department of Architecture

Indiana University-Purdue University Indianapolis (IUPUI) / Finely-tuned solvent mixtures are used by art conservators for the difficult task of safely and selectively removing yellowed varnish, disfiguring grime, and discolored overpaint from the surface of oil paintings. This process is often referred to as “picture cleaning” and depends on the different solubilities of the obfuscating surface materials and the underlying paint medium. However, differential evaporation rates for the solvents used in these carefully formulated cleaning mixtures can change the potency of the mixture over time, which could potentially lead to solutions having solubility characteristics that are ineffective at cleaning, or worse yet, are deleterious to artists’ oil paints. Azeotropic blends of solvents have been proposed as an alternative for maintaining consistent solvent composition throughout the evaporation process while benefiting from their high vapor pressure relative to the pure solvents. Azeotropes are specific combinations of two or more solvents at a precise concentration that behave as a single solvent, maintaining a constant composition in both the liquid and vapor phases. The use of purportedly azeotropic solvent blends has appeared in the art conservation literature for the cleaning of historic objects and paintings. However, these solvent mixtures are taken from tables of azeotropic compositions given at their boiling point. We have studied one of these solutions, a 19:81 vol% mixture of isopropanol and n-hexane. For the first time, the actual evaporation behavior of this purported azeotropic mixture was followed in detail at room temperature conditions. Through the use of rudimentary vapor pressure measurements, gravimetric analysis, as well as sophisticated compositional determinations of both the liquid phase and headspace of evaporating mixtures by gas chromatography, this particular cleaning solution has been shown to be zeotropic (i.e. NOT an azeotrope) under the conditions typical of conservation studios. The true room temperature azeotropic composition was found instead to contain half as much isopropanol at 9.5 vol%. Art conservators should therefore be dubious of purportedly azeotropic mixtures reported at boiling points well above room temperature. Individual azeotropic cleaning blends are best determined chemically prior to their use in art restoration. Furthermore, the introduction of a model paint film to the evaporating room temperature azeotrope was shown to further confound its behavior, calling into question whether solvent systems can be configured to evaporate with constant composition from the surface of an artwork.

published_or_final_version / Architecture / Master / Master of Landscape Architecture

The purpose of this creative project was to develop a conceptual landscape plan for integrating residential development on an historically significant property, located at North Bend, Ohio, known as "Aston." The plan, designating areas suitable for residential development, was designed so that most of the features and elements of the property that defined its historic character were not destroyed or, at least, not unreasonably compromised. Priority was also placed on protecting the aesthetic and environmental qualities of the site. An inventory of the existing physical attributes (soil and bedrock geology, surface hydrology, topography, structures and other built features, etc.) of the property was conducted focusing on identification of historically significant elements. Additionally, written and photographic documentation established the general historic character and appearance of the property and identified important features that were no longer present in the current landscape. The documentation of the history of the property and its historic features was presented in narrative form (supported by historic and current photographs) in this study. It is probable that further documentation of this significant property is unlikely to occur since it is presently owned by a development company. The two areas of the property that were found to contain concentrations of historic resources (structures, drives, vegetation, walls, ponds, etc.) were designated as "Historic Core Areas" for preservation. Another area where the Ohio Department of Natural Resources had discovered a population of an endangered plant species was also withdrawn for preservation. Based on the implications of the physical attributes of the property, further areas were designated as unsuitable for development and will function as open "greenspaces" for the proposed community. The remaining acreage of the property constituted the areas designated as suitable for residential development. In these areas, the suggested road layout, lot sizes, siting of condominiums or housing structures, and pedestrian trails were designed. Finally, recommendations for guiding the more detailed design of the architectural and landscape architectural elements of the proposed residential development were presented. This completed creative project presents a suggestion for how modem residential development may be accommodated without substantially destroying the documented historic, environmental and aesthetic values of this significant property. / Department of Landscape Architecture

Tsui Chung Man. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2002. / Includes bibliographical references (leaves 247-251). / Abstracts in English and Chinese. / Introduction --- p.1 / Chapter Chapter One: --- Effective memory cues are the keys to sustain collective memory in China --- p.13 / Chapter 1.1 --- Cultural dimension: the Chinese sustainable chain of memories --- p.13 / Chapter 1.2 --- Social dimension: collective memory in the city --- p.15 / Chapter 1.3 --- Psychological dimension: effective memory cues to sustain collective memory --- p.22 / Chapter Chapter Two: --- Effective tangible cues in Guangdong cities --- p.30 / Chapter 2.1 --- Regional level study: a region developed with the landscape --- p.30 / Chapter 2.2 --- City level study: the landscape as reference for planning --- p.43 / Chapter 2.3 --- Architectural level study: the place that persists through time --- p.68 / Chapter Chapter Three: --- From tangible memory cues to intangible memory cues --- p.104 / Chapter 3.1 --- Scene: the visualization of the city --- p.105 / Chapter 3.2 --- Text: the highlight of the city's characters --- p.123 / Chapter Chapter Four: --- The inter-relationships of the memory cues in Huizhou --- p.133 / Chapter 4.1 --- Huizhou: a city evolved with the landscape --- p.136 / Chapter 4.2 --- City Planning of Huizhou as shaped by the landscape --- p.164 / Chapter 4.3 --- Manifesting landscape into place: the maintaining of the spirit of the place in Huizhou inner city --- p.170 / Chapter 4.4 --- Extracting tangible memory cues to intangible ones: texts and scenes on the West Lake --- p.198 / Chapter 4.5 --- Incarnating intangible memory cues to tangible ones: the formation of new places --- p.212 / Chapter 4.6 --- The intertwining of cffective memory cues in Huizhou: the: Lake-City-River relationship --- p.224 / Chapter Chapter Five: --- Principles to revitalize the inter-relationship of the effective memory cues in Huizhou --- p.231 / Chapter 5.1 --- Revitalizing the landscape and place in Huizhou --- p.232 / Chapter 5.2 --- Extracting the distinctiveness of the landscape and place in Huizhou into visualized and readable forms through public participations --- p.235 / Chapter 5.3 --- Incarnating the texts and distinctive scenes in Huizhou into recreated physical environment --- p.239 / Chapter 5.4 --- Reinforcing the l.ake-City-River relationship through the recreation of the water bodies --- p.242 / Conclusions --- p.245 / Bibliography --- p.247 / Attachment: Urban morphology of Guangdong cities in late imperial China