The use of heritage as a state tool to construct national identity has been fervently explored (e.g. Daniels 1993 and Kohl 1998). However, the ways in which ethnic minority communities in multicultural societies, respond to the Authorised Heritage Discourse’ (AHD) (Smith 2006) as the product of nationalism is relatively under-researched (Caffyn and Lutz 1999, Waterton 2010). This dissertation focuses on the case study of the Miao ethnic minority’s cultural landscapes in China, which have been altered continuously by both the national and local powers that seek to construct collective identities. The dissertation asserts that ethnic minority heritage practices in multicultural societies need to be understood as being profoundly shaped by nationalist discourses and practices. My ethnographic research, of Langde, a Miao village founded in the 14th century, addresses historical and contemporary identity negotiations between the local and the national, the ethnic minority and the majority, but also the ways in which ethnic minority groups and the state strive to shape their collective identities through concrete heritage practices. Such construction has in turn reinforced the local Miao identity through everyday heritage practices. The AHD in China, which is a technology of nationalism, has been based on the assumption of the ‘superior’ cultural status of Han as the majority. Yet, conversely it is also entwined with how ethnic minority groups have actively shaped their own identities. By employing visual ethnography, this dissertation reveals a Communist vision of multiculturalism, which combines cultural hegemony and community empowerment. The dissertation concludes by proposing an expansion to the framework for understanding how the AHD of ethnic minority heritage is made and perceived. Looking at minority heritage’s entanglement with nationalism provides a window of understanding into how collective identities at national and local levels are negotiated and reconstructed.

A presentation on the traditional resource use by Ojibway in the Western Great Lakes region. The complete report, which can be found in this collection, is titled 'Traditional Ojibway Resources In The Western Great Lakes.'

As the Campus Landscape Architect for the University of Pretoria, it has been an on-going challenge to gain an understanding and reliable data on the history of the landscape of the University of Pretoria's Hatfield campus. With the pace of development taking place on the campus, in order to meet the University's 2025 Strategic Vision, it became very clear that potential significant cultural landscapes on the Hatfield campus could be lost without ever knowing it. This is especially even more so when related to the South African Heritage Resources Act 25 of 1999 (SAHRA). The Getty Foundation's Campus Heritage Initiative's first grant for a conference in 2000 shared consensus that historic landscape preservation had a very low profile in much of American campus planning The hypothesis states that the University of Pretoria's Hatfield Campus has an undiscovered cultural landscape history that not only could have value to the development of the University, but also to that of the surrounding precincts of the City. The thesis's aim is to record any sourced data pertaining to the cultural landscape of the University of Pretoria's Hatfield campus in order to contribute to the institutional repository, and to ascertain what, if any, cultural landscape values exist. A complex descriptive and historiographical interpretative research strategy was followed. A literature, policy and model study was conducted resulting in the main research tool being the U.S. Department of the Interior National Park Service's Cultural Landscape Report (CLR). The limitation to the thesis was Part 1: Site History, Existing Conditions, Analysis and Evaluation of the CLR to the University of Pretoria's Hatfield Campus for the period 1910 to 1960. The study highlighted that the Hatfield Campus does contain tangible cultural landscape elements but very little is known or present of the intangible elements. The current political climate of the University places emphasis on equalising the cultural diversity on campuses, perhaps to the detriment of the existing cultural landscape, mainly by the naming and/or renaming of its buildings. A recommendation is that a Management and Preservation Plan encompassing both the architectural and landscape aspects be compiled to inform the future planning of the campus. / Dissertation (MLA)--University of Pretoria, 2016. / Architecture / MLA / Unrestricted

Carlo Scarpa, Italian architect, designer, painter, had a vision of a deliberate juxtaposition of the presence of the past against the backdrop of the present. Such are the conditions that describe various palimpsests, partially legible windows into the past. Reconstructing the Ca'Foscari (1935-37), Scarpa's first real commission marked the realized reconciliation between the old and the new. The finished work of the Ca'Foscari reflects the poetic manner in which the presence of the history and the present moment are allowed to be what they are no more, no less; yet the two operate in ethereal symbiosis. A perforated semi-transparency and sophisticated manipulation of light evolved to become the governing strategies for future projects. Revelatory changes in materials establish a relationship with an evolving fabric. Scarpa believed that arranging such exhibits as the Ca'Foscari project kept these delicate reconciliations at the forefront of one's mind. In an era of placelessness, Niall Kirkwood states that history's failures are repeating themselves. In efforts to "Hold Our Ground" he make the revelation that spaces built from the 1990's on may deteriorate faster than expected as landscapes evolve. Spaces are redesigned with new forms masking what was. Kirkwood proposes a working paradigm, similar to a palimpsest, to provide legible insight into a site's past. This thesis investigation is intended to explore possible reconfigurations of history's artifacts, lending themselves to a dialogue between the past and the present as applied to a conceptual palimpsest. This is possible taking Scarpa's ability of weaving a new work into the ongoing dialogue of an evolving fabric paired with the fusions of modern/historical impulses of sculptor Isamu Noguchi strung with Walter Hood's improvisational analysis whereas the site informs the design. This design project will take form as a revelatory unveiling of Love Plaza's history, one of Philadelphia's many reused canvasses. / Master of Landscape Architecture

The Intention to Notice: the collection, the tour and ordinary landscapes is concerned with how ordinary landscapes and places are enabled and conserved through making itineraries that are framed around the ephemera encountered by chance, and the practices that make possible the endurance of these material traces. Through observing and then examining the material and temporal aspects of a variety of sites/places, the museum and the expanded garden are identified as spaces where the expression of contemporary political, ecological and social attitudes to cultural landscapes can be realised through a curatorial approach to design, to effect minimal intervention. Three notions are proposed to encourage investigation into contemporary cultural landscapes: To traverse slowly to allow space for speculations framed by the topographies and artefacts encountered; to [re]make/[re]write cultural landscapes as discursive landscapes that provoke the intention to notice; and to reveal and conserve the fabric of everyday places. A series of walking, recording and making projects undertaken across a variety of cultural landscapes in remote South Australia, Melbourne, Sydney, London, Los Angeles, Chandigarh, Padova and Istanbul, investigate how communities of practice are facilitated through the invitation to notice and intervene in ordinary landscapes, informed by the theory and practice of postproduction and the reticent auteur. This community of practice approach draws upon chance encounters and it seeks to encourage creative investigation into places. The Intention to Notice is a practice of facilitating that also leads to recording traces and events; large and small, material and immaterial, that encourages both conjecture and archive. Most importantly, there is an open-ended invitation to commit and exchange through design interaction.

This study was designed to inform the third party Environmental Impact Statement (EIS) required for the Quitchupah Creek Road, UTU-57907, Fishlake National Forest and Bureau of Land Management, Richfield District, Sevier and Emery Counties, Utah. The road proposal involved upgrading a jeep trail located in Quitchupah Canyon. Modifications of this four-wheel drive dirt road would involve extensive environmental engineering, bridges culverts for side canyon intermittent streams and paving of approximately 9.2 miles. A team of ethnographers from the University of Arizona interviewed members of the Paiute Indian Tribe of Utah (PITU) to understand cultural meaning, traditional use, and potential impacts to Native American resources in the study area.

Since the major influx of settlement in the 19th century, architecture on the Saskatchewan prairie has focused on imported types and products, a condition that has contributed to the lack of a clear regional architectural identity. This architectural thesis explores fundamental characteristics of inhabiting the prairie in order to create designs that are better adapted to its physical and cultural context. Investigations deal with the horizon-based experience, exposure, extreme temperatures, and the relationships between brought and found elements. The architectural implications of these characteristics are tested within the context of an overarching narrative of the socioeconomic and architectural forces at work behind contemporary projects in the region: A generic town and fictitious inhabitants are created to help the designs respond to common realities and challenges facing the prairie today. Based on these investigations, improvements are proposed for several major building types, including a house, duplex, rink, church, and school.

No description available.

Oregon’s fish hatchery system developed in the late 1800’s in response to salmon fishery losses. Salmon hatcheries consist of a number of built components. ‘Growing fish’ requires a variety of building types which support the hatchery process as well as constant input of resources. In addition to surveying and inventorying fish hatchery resources, this study will analyze the social, economic, cultural, and environmental conditions under which these fish hatcheries were organized and commissioned. Ultimately, this survey will not only serve as a baseline for future, more intensive-level surveys, but will also provide a foundation for a National Register Multiple Property Submission. The use of hatcheries to sustain native Oregon fish species constitutes a major aspect of Oregon’s fishing and environmental conservation efforts. Oregon’s heritage hatcheries stand as physical reminders of early conservation activity and while their preservation provides a more complete picture of Oregon’s relationship with natural resources

Poetic dwelling, both as the perception of and engagement with the environment, has predominantly been lost in contemporary society. As a result, the earth had become an ‘inexhaustible inventory’ in the eyes of the dweller, resulting in a culture that merely consumes without giving anything of itself. In response to a Regenerative approach to the making of architecture, the dissertation combines the theories of Robert. P. Harrison and Martin Heidegger, in that poetic dwelling finds its extension in the form of building, and its fulfillment in the garden. The design aims to facilitate the healing of both people and environment on a site scarred by the consumer model of modern industry, and does so on a derelict brick quarry site in Monument Park, Pretoria. / Dissertation MArch(Prof)--University of Pretoria, 2014. / Architecture / Unrestricted