This thesis explores ideas of everydayness, the mundane, and the repetitive emptiness of consumer culture. It looks at the malaise that plagues everyday life and examines several attempts throughout history to break from its grips which revolve around a search for a more ideal state. This research includes utopias of modernism, the transcendental, the communal living of Shakers and Early Christians, ascetic monks and The Desert Fathers. These ideas have shaped my studio practice as I construct installations based on worlds which allude to the eternal, the otherworldly, and the fragility of our physical world when compared to more eternal spiritual archetypes.

Este trabalho tem o objetivo de analisar as exposições como um fenômeno de linguagem de arquitetura, pensando a ação de arquitetos curadores como um exercício de ressignificação do espaço onde ela será construída. Neste espaço inicial, denominado espaço base, que tem características físicas, institucionais e simbólicas será processada uma ressignificação, que parte de ideias e programas dentro de uma lógica discursiva. Esta lógica será transposta através do desenho de projeto num dispositivo de comunicação, construído através de uma narrativa espacial. Esta narrativa espacial se dá pelo encadeamento de seus setores parciais, denominados de espaços frases, com o objetivo de facilitar a comunicação do programa previsto. Estes conceitos serão aplicados a dois estudos de caso das exposições mais relevantes de duas arquitetas e curadoras realizadas no Brasil: Lina Bo Bardi e Gisela Magalhães. Como conclusão do trabalho, procurou-se estabelecer similaridades e diferenças na linguagem de arquitetura expositiva de ambas as autoras. / This work has the object to analyze the exhibitions as a phenomenon of architectural language, thinking the work of curators architects as an exercise in ressignification the space where it will be built. In this initial space, called base space, which has physical, institutional and symbolic characteristics will be processed with a ressignification, which has the starting point in the ideas and programs within a discursive logic. This logic will be implemented through the architectural project design of a communication device, constructed by a spatial narrative. This space gives the narrative thread of their partial sectors, called phrases spaces, in order to facilitate communication of the planned program. These concepts will be applied to two case studies of the most important exhibitions of two Brazilian curators architects: Lina Bo Bardi and Gisela Magalhaes. The conclusion of this work was to establish similarities and differences in the exhibition architecture language of both authors.

Este trabalho tem o objetivo de analisar as exposições como um fenômeno de linguagem de arquitetura, pensando a ação de arquitetos curadores como um exercício de ressignificação do espaço onde ela será construída. Neste espaço inicial, denominado espaço base, que tem características físicas, institucionais e simbólicas será processada uma ressignificação, que parte de ideias e programas dentro de uma lógica discursiva. Esta lógica será transposta através do desenho de projeto num dispositivo de comunicação, construído através de uma narrativa espacial. Esta narrativa espacial se dá pelo encadeamento de seus setores parciais, denominados de espaços frases, com o objetivo de facilitar a comunicação do programa previsto. Estes conceitos serão aplicados a dois estudos de caso das exposições mais relevantes de duas arquitetas e curadoras realizadas no Brasil: Lina Bo Bardi e Gisela Magalhães. Como conclusão do trabalho, procurou-se estabelecer similaridades e diferenças na linguagem de arquitetura expositiva de ambas as autoras. / This work has the object to analyze the exhibitions as a phenomenon of architectural language, thinking the work of curators architects as an exercise in ressignification the space where it will be built. In this initial space, called base space, which has physical, institutional and symbolic characteristics will be processed with a ressignification, which has the starting point in the ideas and programs within a discursive logic. This logic will be implemented through the architectural project design of a communication device, constructed by a spatial narrative. This space gives the narrative thread of their partial sectors, called phrases spaces, in order to facilitate communication of the planned program. These concepts will be applied to two case studies of the most important exhibitions of two Brazilian curators architects: Lina Bo Bardi and Gisela Magalhaes. The conclusion of this work was to establish similarities and differences in the exhibition architecture language of both authors.

The following work explores the role of 3D printing in biological anthropology. A case study approach is used to provide an understanding of two different applications for 3D printing and to identify a potential methodology for creating 3D models. Case study one looks at the application of 3D printing to reconstruction projects using a flowerpot to test the reconstruction methodology. The second case study uses both laser surface and CT scanning to create a replica of a human skeleton. The two methods of data acquisition are evaluated for advantages and limitations in creating the virtual model. This work shows that there is a role for 3D printing in biological anthropology, but that data acquisition and processing issues are the most significant limiting factors in producing skeletal replicas. / October 2006

The following work explores the role of 3D printing in biological anthropology. A case study approach is used to provide an understanding of two different applications for 3D printing and to identify a potential methodology for creating 3D models. Case study one looks at the application of 3D printing to reconstruction projects using a flowerpot to test the reconstruction methodology. The second case study uses both laser surface and CT scanning to create a replica of a human skeleton. The two methods of data acquisition are evaluated for advantages and limitations in creating the virtual model. This work shows that there is a role for 3D printing in biological anthropology, but that data acquisition and processing issues are the most significant limiting factors in producing skeletal replicas.

The following work explores the role of 3D printing in biological anthropology. A case study approach is used to provide an understanding of two different applications for 3D printing and to identify a potential methodology for creating 3D models. Case study one looks at the application of 3D printing to reconstruction projects using a flowerpot to test the reconstruction methodology. The second case study uses both laser surface and CT scanning to create a replica of a human skeleton. The two methods of data acquisition are evaluated for advantages and limitations in creating the virtual model. This work shows that there is a role for 3D printing in biological anthropology, but that data acquisition and processing issues are the most significant limiting factors in producing skeletal replicas.

As we pass the 6oth anniversary of the end of World War Two (WW2) historians are diligently collecting the memoirs of veterans to preserve for future generations. Public archives of memorabilia, letters, photos and artefacts, in the process of digitisation are complimenting the stone memorials of the past. This material culture of memory discusses human interaction. “The poor, the rich, the brave and the afraid, the hero and the deserter” (Moriarty, 1999, p 654). In contemporary museum culture this digitised information is presented in either web-based systems, or interactive kiosks. However, this approach to packaging memories and historical data often leaves out much of the depth of the topic information, skimming the surface of the knowledge conveyed. New solutions to memory and artefact display have been developed effectively in the Churchill room’s exhibit designed by Small Design (Kabat,2008) and Memory Miner (Memory Miner, 2008), a home-based memory archive programme by John Fox. Both convey the memories and artefacts upon a mapped interface, using our desire to discover and connect with memories to navigate the narrative in a self-guided format. The Storytelling Memories project seeks to build on current research to formulate an interactive platform of memory immersion and experience within a museum environment. The project utilises a touch sensitive surface as an interface between the viewer and the memories. A physical controller, when placed near the interface surface will “unlock” contained memories, enabling an open-ended storytelling experience. The design encourages the user to interact directly with the memories to create their own dialogue, with the intention of developing a more emotive, personal connection to the Veteran.

As we pass the 6oth anniversary of the end of World War Two (WW2) historians are diligently collecting the memoirs of veterans to preserve for future generations. Public archives of memorabilia, letters, photos and artefacts, in the process of digitisation are complimenting the stone memorials of the past. This material culture of memory discusses human interaction. “The poor, the rich, the brave and the afraid, the hero and the deserter” (Moriarty, 1999, p 654). In contemporary museum culture this digitised information is presented in either web-based systems, or interactive kiosks. However, this approach to packaging memories and historical data often leaves out much of the depth of the topic information, skimming the surface of the knowledge conveyed. New solutions to memory and artefact display have been developed effectively in the Churchill room’s exhibit designed by Small Design (Kabat,2008) and Memory Miner (Memory Miner, 2008), a home-based memory archive programme by John Fox. Both convey the memories and artefacts upon a mapped interface, using our desire to discover and connect with memories to navigate the narrative in a self-guided format. The Storytelling Memories project seeks to build on current research to formulate an interactive platform of memory immersion and experience within a museum environment. The project utilises a touch sensitive surface as an interface between the viewer and the memories. A physical controller, when placed near the interface surface will “unlock” contained memories, enabling an open-ended storytelling experience. The design encourages the user to interact directly with the memories to create their own dialogue, with the intention of developing a more emotive, personal connection to the Veteran.

As we pass the 6oth anniversary of the end of World War Two (WW2) historians are diligently collecting the memoirs of veterans to preserve for future generations. Public archives of memorabilia, letters, photos and artefacts, in the process of digitisation are complimenting the stone memorials of the past. This material culture of memory discusses human interaction. “The poor, the rich, the brave and the afraid, the hero and the deserter” (Moriarty, 1999, p 654). In contemporary museum culture this digitised information is presented in either web-based systems, or interactive kiosks. However, this approach to packaging memories and historical data often leaves out much of the depth of the topic information, skimming the surface of the knowledge conveyed. New solutions to memory and artefact display have been developed effectively in the Churchill room’s exhibit designed by Small Design (Kabat,2008) and Memory Miner (Memory Miner, 2008), a home-based memory archive programme by John Fox. Both convey the memories and artefacts upon a mapped interface, using our desire to discover and connect with memories to navigate the narrative in a self-guided format. The Storytelling Memories project seeks to build on current research to formulate an interactive platform of memory immersion and experience within a museum environment. The project utilises a touch sensitive surface as an interface between the viewer and the memories. A physical controller, when placed near the interface surface will “unlock” contained memories, enabling an open-ended storytelling experience. The design encourages the user to interact directly with the memories to create their own dialogue, with the intention of developing a more emotive, personal connection to the Veteran.

The re-curated Canadian History Hall (CHH) opened at the Canadian Museum of History (CMH) in Gatineau, Québec, on July 1st, 2017, becoming the first Canadian national narrative to exhibit the history, experiences, and aftermath of Canada’s genocidal Indian Residential School (IRS) system. Through interviews and participant observation, this case study considers experiences of CHH curatorial engagements between Alberni IRS Survivors and museum professionals. Their experiences illustrate practical challenges, structural limitations, and complementary interests of Western museums and Indigenous source communities attempting to collaboratively curate difficult history. Despite having limited capacities for indigenization or decolonization, this thesis demonstrates that museums like the CMH can be complicated but beneficial partners for some Indigenous source communities and their anti-colonial engagements with Canadian society. / Graduate