The aim of this dissertation is to test the feasibility of setting up a heritage trail on a non-historic campus as an effective educational tool to facilitate cultural identification among students. The ELCHK Lutheran Secondary School is used as a case study. Since understanding the place is fundamental to value-based conservation, heritage education for students should start from their acquainted environment with a sense of belonging. Existing external heritage resources provided to schools are not sufficient to meet the mounting needs for cultural heritage education. One’s own campus should be incorporated into the design of teaching and learning activities. In this dissertation, an in-house, on-campus heritage trail is set up on a non-historic campus, with neither declared monuments nor graded historic buildings, through a stakeholder participation approach. Major visiting points are determined according to an opinion survey of the stakeholders. The proposed trail can also be used for docent service for visitors and other orientation programs. The proposed campus heritage trail may only be operated on a pilot scale in view of its inherent limitations of small campus size and low degree of attractiveness. Its non-historic nature also implies lack of adequate funding for management and impetus for conservation. Nonetheless, implementation and evaluation of the proposed learning activities should still be tried out. If review proves that utilization of the trail is an effective tool to cultivate a sense of identity, continuity and belongings among students, the feasibility of the proposal can be verified. An ordinary school, as long as it is loved and has its own identity and individuality, deserves recognition and conservation. Regardless of age, non-historic places have to be taken care of with passion and enthusiasm before they can gradually evolve into more historic and precious jewels. / published_or_final_version / Conservation / Master / Master of Science in Conservation

The New Territories of Hong Kong has faced the drastic change since the 20th century. As concluded by the Lockhart Report in 1899, the landscape and village setting in the New Territories were much the same in few hundred years before 1900. However, with the social and economic developments, the natural and cultural landscapes of the New Territories have been shaped and evolved obviously. Being one of the witnesses of these changes is because that my family live at Tai Tseng Wai of Wang Chau in Yuen Long, I have my personal attachment and memory to my home village. The precious tangible and intangible heritage is required to record before it will be gone by the threads of development. There is no comprehensive and systematic research on the heritage resources at Tai Tseng of Wang Chau. As Tai Tseng is far from Yuen Long, there is no published research or study in this area. Most of heritage resources, especially the intangible heritage has been neglected. Most of the reports which are prepared by the Government or consultants are related to the natural environment and historic fabrics for the requirement of planning application and the Environmental Impact Assessment Ordinance (EIAO) such as the construction of sewerage and sewage disposal facilities in Yuen Long. However, the concept of cultural landscape, cultural mapping and intangible heritage are ignored. This research is expected to serve as the documentation and inventory study of heritage resources of Tai Tseng. The natural and cultural heritage will be evaluated and the driven forces will be studied. It is also expected that this study will help us learning more about the current condition of heritage resources in the traditional villages in Hong Kong. As Tai Tseng is one of Hong Kong surviving living village in the New Territories, it is expected that the research results could be the reference and resources for the challenges and future developments. The research results will also provide the direction and insight for the heritage conservation policy in Hong Kong such as applying the concept of cultural landscape, assessment of intangible heritage and cultural mapping skills to the traditional village in the New Territories. The study area is Tai Tseng of Wang Chau where is located in the north of Yuen Long. Although there are about ten villages in Wang Chau, only three villages which are located in the north of Wang Chau, including Shing Uk Tsuen, Tai Tseng Wai and Ng Uk Tsuen as labeled in Fig. 1.1 will be studied. Tai Tseng is the collective name which includes Three Villages in the north of Wang Chau. Tai Tseng is selected because of my personal attachment and connections. As my family is rooted at Tai Tseng Wai, many interesting stories about their cultural practices and ritual customs can be shared with my professional views and theories which I have learnt from the Architectural Conservation Programme (ACP) in The University of Hong Kong. As I am one of the witnesses, its conditions and changes could be assessed. With my family connections, the oral interviews can be conducted with the indigenous villagers to understand their views to Tai Tseng. Their experienced stories can be shared in the research. Tai Tseng is a good example for the cultural landscape study. Although Tai Tseng is not the oldest village in Wang Chau (the oldest village is Sau Tau Wai), many tangible and intangible heritage resources are still well-preserved. This project also is the example to apply some new conservation concepts and methods such as the concept of cultural landscape and application of cultural mapping. This research is the pilot study to capture the indigenous villagers’ views on the heritage resources through the cultural mapping techniques. Their views to heritage resources will be analyzed and visualized by the form of cultural map. As the landscape and setting of Tai Tseng have been evolved in the 20th century, many precious traditional customs and ritual practices should be recorded before it would be gone. The temporal changes and the driven forces over the last century also provide the insight to us for studying the evolution in the natural and cultural landscapes. This site is a good example to study the development of cultural landscape in the New Territories of Hong Kong. / published_or_final_version / Conservation / Master / Master of Science in Conservation

published_or_final_version / Architecture / Master / Master of Landscape Architecture

published_or_final_version / Urban Planning and Design / Master / Master of Science in Urban Planning

published_or_final_version / Urban Planning and Design / Master / Master of Science in Urban Planning

Beijing is the most important and dynamic city in China. A vital ingredient in that success has been its historic environment- its imperial palaces, its temples, its siheyuans, its hutongs- which provides the texture of the Old Beijing city. The historic environment is key to Beijing’s prosperity and a social asset of value. Nearly all the most prosperous and desirable areas in Beijing, the places where people most want to live, work and visit, are those where the historic environment is a dominant influence. The article, “World Heritage Areas: A Critical Analysis”, written by Peter Neville, Hadley in National Post Canada says: UNESCO's World Heritage List is intended to help preserve historic sites, but in China, inclusion on the list can be the kiss of death. The major "carrot" of heritage designation is the increased levels of tourism its prestige generates. Apparently, not only the designated heritage sites, but all the heritages are faced with the fate of being destroyed by tourism and development. Old buildings and lanes in Beijing never stop drawing visitors. The city, even the whole country is now proud of prosperous tourism which is always associated with ‘economic flourishing’. Virtually, every introduction tourism text contains at least one chapter discussing the social, cultural, and environmental impacts of tourism. This topic has also been the subject of extensive investigation in the academic literature. However, in regions that are undergoing rapid development and where an ethos of conservation has not been established, often surprising ignorance of the negative consequences of tourism exists. In China, the attitude is still that the benefits of economic development outweigh any adverse costs such development may have. However, such an attitude is now seen as being shortsighted. As a result, a more balanced approach to tourism is advocated, acknowledging both its beneficial and detrimental effects on host communities and their cultures. Conservation is about ensuring that we make the best use of our historic environment. It is a tool for managing change. Some still believe that conservation is simple about preserving the fabric of old buildings unchanged and developing the economic potential of tourism. They failed to see that conservation is an overarching work, the opposite of a wasteful society. It is easy to destroy - and today we have the tools, the money and the technology - but difficult to create. Cultural heritage, areas, landscapes and communities are a finite resource. Once lost they are lost forever. The purpose of conservation is to ensure that destruction is kept to a minimum while allowing creativity and innovation to flourish. We should preserve the town of the past for the man of the future. / published_or_final_version / Conservation / Master / Master of Science in Conservation

Thesis (MPA (School of Public Management and Planning))--University of Stellenbosch, 2009. / ENGLISH ABSTRACT: The birth of democracy in South Africa launched a paradigm shift in the public sector aligning it with the new political ideology. To meet this objective, state organs had to be radically transformed to embrace this new political ideology so as to extend and enhance service delivery to all South Africans. The democratisation of state organs led to the transformation of public institutions both statutory and non-statutory. The urgency to transform strategic state institutions whose mandate was to provide basic and primary needs like health, housing and social services, led to the neglect of other like sport, culture, and the natural environment. The transformation of some of the latter institutions was attended to only after a couple of years after the democratisation. This led to flaws in these legislative development processes which resulted in the creation of different institutions by various laws. This was the root cause of fragmentation. The provisions of these Acts are in some areas ambiguous and contradictory. The consequences are duplications and overlaps in the implementation processes. Heritage institutions have different regulatory frameworks and management systems – regulations, policies, guidelines and procedures. Furthermore, complex internal management systems expedite fragmentation of this sector. This institutional fragmentation has enormous impact on heritage conservation and management. There is limited cooperation and collaboration between heritage institutions. This study will outline how theories, strategies and instruments from the new public management approach, can be utilised to address these challenges. / AFRIKAANSE OPSOMMING: Met die totstandkoming van ‘n demokratiese Suid-Afrika het in paradigma verskuiwing in die openbare sektor gevolg wat dit in lyn gebring het met die nuwe politieke ideologie. Om hierdie doelwit te bereik staats instelling moes radikaal getransformeer word om hierdie nuwe politieke ideologie te ondersteun en diens lewering na alle Suid-Afrikaners uit te brei. Die demokratisering van staatsinstellings het tot die transformasie van beide statutere en -nie statutere instellings gelei. Die noodsaak om strategiese staatsinstellings wie se mandaat dit was om basiese en primere dienste soos gesondheid, behuising en maatskaplike dienste te verskaf en transformeer, het tot die verwaarlosing van sport, kultuur en omgewingsake gelei. Dit het ‘n paar jaar geduur na demokratisering voordat die transformasie van hierdie instellings aandag gekry het. Die gevolg was ‘n gebrekkige wetgewende ontwikkelingsproses wat tot die totstandkoming van verskillende instellings in terme van verskeie wette gelei het. Hierdie is die bron van fragmentasie. Die voorskrifte van hierdie wetgewing is in sekere areas dubbelsinnig en teenstrydig. Die gevolg is duplikasie en oorvleuling in die implementeringsprosesse. Erfenis oorvleueling instellings het verskillende regulatoriese raamwerke en bestuurstelsels- regulasies, beleide, riglyne en prosedures. Verder vererger die komplekse interne bestuurstelsels fragmentasie in die sektor. Die institusionele fragmentasie het groot impak op erfenisbewaring en-bestuur. Daar is beperkte samewerking tussen erfenis instellings. Hierdie studies sal aandui hoe teoriee, strategie en instrumente van die nuwe benadering tot openbare bestuur aangewend kan word om hierdie uitdagings die hoof te bied.

O verniz acrílico Paraloid B72TM é um termoplástico que atua como um bom adesivo formando filmes claros. Tem sido usado em conservação e restauração de bens culturais desde os anos 50. Por apresentar Tg próximo a 40°C, no Brasil, algumas substâncias podem ficar adsorvidas à superfície de camadas pictóricas envernizadas. Nesse caso, a limpeza tradicional (palito com algodão e solventes) pode acarretar danos (penetração do solvente, abrasão, etc.) à obra de arte. A limpeza por métodos aquosos (géis e emulsões) pode deixar resíduos que interagem com os materiais originais. Por outro lado, a utilização de nano-géis magnéticos é bastante restrita e de difícil acesso. Esse trabalho tem por objetivo o desenvolvimento de filmes adsorventes de celulose/SBA-15 para retirada do verniz Paraloid B72TM, onde se fizer necessário. Esses filmes foram empregados sobre miméticos (pinturas originais de diferentes técnicas e obras confeccionadas para estudo envernizadas com Paraloid B72TM) para verificação de sua eficácia. As matérias primas, os miméticos e os filmes adsorventes, antes e após a aplicação, foram caracterizadas por técnicas físico-química e analíticas [análise térmica (TG/DTG e DTA); espectroscopia no infravermelho (FTIR); microscopia eletrônica de varredura (MEV); microscopia eletrônica de transmissão (MET); espectroscopia de fluorescência de raios X (XRF), microscopia digital de superfície e estereoscopia]. A microscopia digital de superfície e a estereoscopia foram usadas para inspeção do micro morfologia da superfície e possibilitaram identificar a presença de partículas adsorvidas na superfície das obras. A MEV, a MET permitiram observar a micromorfologia das superfícies e a FTIR caracterizar as matérias primas e os filmes adsorventes. O comportamento térmico das matérias primas e dos filmes adsorventes, antes e após a aplicação, foi avaliado por TG/DTG e DTA. A avaliação dos miméticos e dos filmes de adsorção, antes e depois da aplicação, por XRF evidenciou que não houve danos aos miméticos. O filme de celulose/SBA-15 como adsorvedor da resina acrílica na limpeza de superfícies policromadas em obras de arte, por meio de um solvente, se mostrou eficaz. Esse método é alternativo e não pretende substituir qualquer outro já existente. Visto que, em restauração de obras de arte cada caso é especifico e nada substitui o conhecimento, discernimento e destreza do restaurador. / The acrylic varnish Paraloid B72TM is a thermoplastic, which acts as an adhesive forming clear films. It has been used in conservation and restoration of cultural property since the 50ths. By presenting Tg near 40°C, some substances can become adsorbed on the surface of varnished paintng layers, for example in Brazil. In this case, the traditional cleaning (stick with cotton and solvents) can cause damage (penetration of the solvent, abrasion,...) to the artwork. The cleaning of aqueous methods (gels and emulsions) can leave residues that interact with the original materials. Already, the use of magnetic nano-gels is restricted and difficult to access. This paper aims at developing cellulose/SBA-15 adsorbent films for withdrawal of Paraloid B72TM varnish, where it becomes necessary. These films were employed on mimetic (original paintings of different techniques and works made for study varnished with Paraloid B72TM) to verify its effectiveness. The raw materials, adsorbents and mimetic films before and after application were characterized by physico-chemical and analytical techniques [thermal analysis (TG/DTG and DTA); infrared spectroscopy (FTIR); scanning electron microscopy (SEM); transmited electron microscopy (TEM); fluorescent X-ray spectroscopy (XRF), digital microscopy and surface stereoscopic]. The digital microscopy and surface stereoscopy were used to inspect the surface micro morphology and it was possible to identify the presence of particles adsorbed on the surface of the artwork. The SEM, the TEM showed the micro morphology of the surfaces and FTIR characterized the raw materials and adsorbents films. The thermal behavior of materials and adsorbents films before and after application was evaluated by TG/DTG and DTA. Assessment of adsorption and mimetics films before and after application by XRF showed that there was no damage to the mimetic. The cellulose/SBA-15 film as adsorbent in the acrylic resin in polychrome surface cleaning artwork by means of a solvent, is effective. This method is alternative and not intended to replace any existing one. Since, in restoration of works of art each case is specific and nothing replaces the knowledge, insight and conservator dexterity.

This study explores representation and use of indigenous heritage constructs with a view to identifying implications thereof for the quality and relevance of heritage education practices in post colonial southern Africa. Framed within a critical hermeneutic research paradigm under-laboured by critical realist ontology, the study was conducted using a multiple case study research design. The data collection protocol was three-phased, starting with a process of contextual profiling, within which insights were gained into discourses shaping the constitution and orientation of heritage education practices at the Albany Museum in South Africa, the Great Zimbabwe Monument in Zimbabwe and the Supa Ngwao Museum in Botswana. The second phase of data collection entailed modelling workshops in which educators engaged in discussion around the status of heritage education in post apartheid South Africa. This highlighted, through modelled lessons, some of the tensions, challenges and implications for working with notions of social transformation and inclusivity in heritage education. The third phase of data collection involved in-depth interviews. Twelve purposively selected research participants were interviewed between 2010 and 2011. Data generated across the study was processed and subjected to different levels of critical discourse analysis. Besides noting how heritage education in post colonial southern Africa is poorly framed and under-researched, this study revealed that current forms of representing indigenous heritage constructs are influenced more by socio-political discourses than the need to protect and conserve local heritage resources. The study also noted that the observed heritage education practices are oriented more towards addressing issues related to marginalisation and alienation of indigenous cultures and practices, than enhancing learners’ agency to manage and utilise local heritage resources in a more sustainable ways. Based on these findings the study recommends re-positioning heritage education within the framework of Education for Sustainable Development (ESD). ESD acknowledges both issues of social justice and the dialectical interplay between nature and culture; as such, it may allow for representation and use of indigenous heritage constructs in ways that expand current political orientations to include sustainability as an additional objective of heritage education. Given that little research focusing on heritage education has been undertaken within southern Africa, the findings of this study provide a basis upon which future research may emerge.

O verniz acrílico Paraloid B72TM é um termoplástico que atua como um bom adesivo formando filmes claros. Tem sido usado em conservação e restauração de bens culturais desde os anos 50. Por apresentar Tg próximo a 40°C, no Brasil, algumas substâncias podem ficar adsorvidas à superfície de camadas pictóricas envernizadas. Nesse caso, a limpeza tradicional (palito com algodão e solventes) pode acarretar danos (penetração do solvente, abrasão, etc.) à obra de arte. A limpeza por métodos aquosos (géis e emulsões) pode deixar resíduos que interagem com os materiais originais. Por outro lado, a utilização de nano-géis magnéticos é bastante restrita e de difícil acesso. Esse trabalho tem por objetivo o desenvolvimento de filmes adsorventes de celulose/SBA-15 para retirada do verniz Paraloid B72TM, onde se fizer necessário. Esses filmes foram empregados sobre miméticos (pinturas originais de diferentes técnicas e obras confeccionadas para estudo envernizadas com Paraloid B72TM) para verificação de sua eficácia. As matérias primas, os miméticos e os filmes adsorventes, antes e após a aplicação, foram caracterizadas por técnicas físico-química e analíticas [análise térmica (TG/DTG e DTA); espectroscopia no infravermelho (FTIR); microscopia eletrônica de varredura (MEV); microscopia eletrônica de transmissão (MET); espectroscopia de fluorescência de raios X (XRF), microscopia digital de superfície e estereoscopia]. A microscopia digital de superfície e a estereoscopia foram usadas para inspeção do micro morfologia da superfície e possibilitaram identificar a presença de partículas adsorvidas na superfície das obras. A MEV, a MET permitiram observar a micromorfologia das superfícies e a FTIR caracterizar as matérias primas e os filmes adsorventes. O comportamento térmico das matérias primas e dos filmes adsorventes, antes e após a aplicação, foi avaliado por TG/DTG e DTA. A avaliação dos miméticos e dos filmes de adsorção, antes e depois da aplicação, por XRF evidenciou que não houve danos aos miméticos. O filme de celulose/SBA-15 como adsorvedor da resina acrílica na limpeza de superfícies policromadas em obras de arte, por meio de um solvente, se mostrou eficaz. Esse método é alternativo e não pretende substituir qualquer outro já existente. Visto que, em restauração de obras de arte cada caso é especifico e nada substitui o conhecimento, discernimento e destreza do restaurador. / The acrylic varnish Paraloid B72TM is a thermoplastic, which acts as an adhesive forming clear films. It has been used in conservation and restoration of cultural property since the 50ths. By presenting Tg near 40°C, some substances can become adsorbed on the surface of varnished paintng layers, for example in Brazil. In this case, the traditional cleaning (stick with cotton and solvents) can cause damage (penetration of the solvent, abrasion,...) to the artwork. The cleaning of aqueous methods (gels and emulsions) can leave residues that interact with the original materials. Already, the use of magnetic nano-gels is restricted and difficult to access. This paper aims at developing cellulose/SBA-15 adsorbent films for withdrawal of Paraloid B72TM varnish, where it becomes necessary. These films were employed on mimetic (original paintings of different techniques and works made for study varnished with Paraloid B72TM) to verify its effectiveness. The raw materials, adsorbents and mimetic films before and after application were characterized by physico-chemical and analytical techniques [thermal analysis (TG/DTG and DTA); infrared spectroscopy (FTIR); scanning electron microscopy (SEM); transmited electron microscopy (TEM); fluorescent X-ray spectroscopy (XRF), digital microscopy and surface stereoscopic]. The digital microscopy and surface stereoscopy were used to inspect the surface micro morphology and it was possible to identify the presence of particles adsorbed on the surface of the artwork. The SEM, the TEM showed the micro morphology of the surfaces and FTIR characterized the raw materials and adsorbents films. The thermal behavior of materials and adsorbents films before and after application was evaluated by TG/DTG and DTA. Assessment of adsorption and mimetics films before and after application by XRF showed that there was no damage to the mimetic. The cellulose/SBA-15 film as adsorbent in the acrylic resin in polychrome surface cleaning artwork by means of a solvent, is effective. This method is alternative and not intended to replace any existing one. Since, in restoration of works of art each case is specific and nothing replaces the knowledge, insight and conservator dexterity.