Thesis (M.A.)--Baylor University, 2009. / Includes bibliographical references (p. 116-119).

Thesis (M.A.)--Baylor University, 2009. / Includes bibliographical references (p. 119-131).

abstract: Baseball is the quintessential American game. To understand the country one must also understand the role baseball played in the nation's maturation process. Embedded in baseball's history are (among other things) the stories of America's struggles with issues of race, gender, immigration, organized labor, drug abuse, and rampant consumerism. Over the better part of two centuries, the national pastime both reflected changes to American culture and helped shape them as well. Documenting these changes and packaging them for consumption is the responsibility of the National Baseball Hall of Fame and Museum in Cooperstown, New York. Founded as a tourist attraction promoting largely patriotic values, in recent decades the Baseball Hall of Fame made a concerted effort to transform itself into a respected member of the history museum community--dedicated to displaying American history through the lens of baseball. This dissertation explores the evolution of the Baseball Hall of Fame from celebratory shrine to history museum through an analysis of public history practice within the museum. In particular, this study examines the ways the Hall both reflected and reinforced changes to American values and ideologies through the evolution of public history practice in the museum. The primary focus of this study is the museum's exhibits and analyzing what their content and presentation convey about the social climate during the various stages of the Baseball Hall of Fame's evolution. The principal resources utilized to identify these stages include promotional materials, exhibit reviews, periodicals, and photographic records, as well as interviews with past and present Hall-of-Fame staff. What this research uncovers is the story of an institution in the midst of a slow transition. Throughout the past half century, the Hall of Fame staff struggled with a variety of obstacles to change (including the museum's traditionally conservative roots, the unquestioning devotion Americans display for baseball and its mythology, and the Hall of Fame's idyllic setting in a quaint corner of small-town America) that undermined their efforts to become the type of socially relevant institution many envisioned. Contending with these challenges continues to characterize much of the museum's operations today. / Dissertation/Thesis / Ph.D. History 2013

O termo difundido internacional historic house museums une duas categorias: casas históricas e casas-museus. No Brasil, os termos utilizados são museus-casas ou, ainda, casas-museus. Estes se constituem em espaços abertos ao público, reunindo características de conservação e apresentação das obras exigidas pelo Conselho Internacional de Museus (ICOM) e apresentando relação entre a casa (espaço arquitetônico), o acervo (conteúdo) e o proprietário (habitante). O presente estudo consiste em uma análise de três modelos de museus-casas/casasmuseus, na cidade de São Paulo, sendo eles: Fundação Maria Luísa e Oscar Americano, Fundação Cultural Ema Gordon Klabin e Museu da Casa Brasileira. Essa análise levantará os principais itens relativos à arquitetura dos seus projetos, com ênfase nas plantas, o desenho das casas e sua transformação para museu. Trata-se, portanto, de uma reflexão sobre a tipologia dos museus-casas, baseada nas principais características observadas diretamente nas instituições selecionadas, utilizando, para tanto, textos que abordam aspectos históricos, sociais e técnicos, o Projeto de Classificação dos Museus-casas, elaborado pelo DEMHIST (Comitê Internacional de Museus-Casas Históricas, do Conselho Internacional de Museus, 1998), bem como a revisão dos trabalhos já realizados sobre o assunto por diversos autores, visando a um entendimento global das questões já levantadas a respeito do tema. / The spread out term international historic house museums joins two categories: historical houses and house-museums. In Brazil, the used terms are museum-houses or, still, housemuseums. These if constitute in open spaces to the public, congregating characteristic of conservation and presentation of the workmanships demanded for the International Advice of Museums (ICOM) and presenting relation between the house (space architectural), the quantity (content) and the proprietor (inhabitant). The present study it consists of an analysis of three models of museum-houses/house-museums, in the city of São Paulo, being they: Foundation Maria Luisa and Oscar Americano, Cultural Foundation Ema Gordon Klabin and Museum of the Brazilian House. This analysis will raise the main relative item to the architecture of its projects, with emphasis in the plants, the drawing of the houses and its transformation for museum. It is treated, therefore, of a reflection on the kind of the museum-houses, based in the main characteristics observed directly in the institutions selected, using, for in such a way, texts that approach aspects historical, social and technician, the Project of Classification of the Museum-houses, elaborated for the DEMHIST (International Committee of Historical Museum-House, of the International Advice of Museums, 1998), as well as the revision of the works already carried through on the subject for diverse authors, aiming at to a global agreement of the raised questions already regarding the subject.

The project under investigation here is a museum facility to house the full collection of historic Canadian trains currently on display at the existing Canadian Museum of Rail Travel located in Cranbrook, British Columbia. The site of the proposed museum is on a narrow strip of vacant land bordered along one edge by an operating railway yard and on the other by Highway 3/21 the major transportation route through Southern British Columbia. The intention of this siting is to allow the proposed museum to act as a backdrop to the city providing both a buffer between it and the industrial developments beyond the rail yards, as well as a reconnection of the City to the railway on which its history and development has been so dependant. The building itself is organized as two buildings (or layers) lying along side each other like rail cars on a series of tracks. The first building (entry building) houses the public activities of the museum including entry and information, gift shop, tea room/ cafe, temporary gallery, administration offices, archives, shipping/receiving and entrance to the orientation theatre. The second building (the train shed) houses the body of the collection and museum including the restored train sets and cars, elevated discussion space, orientation theatre, and restoration workshops. These two main buildings are connected by a long narrow spine which provides circulation from the entry building through the orientation theatre into the train shed and the collection itself. The spine also houses display areas and visible archives along its length which provide the passing viewer with further explanation of particular aspects of the museum's collection. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

Syftet med denna litteraturstudie är att identifiera exempel då datorgrafik har visualiserat historien och diskutera vilken effekt datorgrafik har på museum. Inledningen presenterar varierande hot från människa och natur mot arkeologiska lämningar och motivationen att bevara samt fördelar med att ha en 3D modell. Nästa kapitel ser tillbaka på uppkomsten av datorgrafik och bakgrunden till museer och vad besökare tycker samt är ute efter vid besök av dessa. Därefter redogörs metoderna med vilka denna studie bedrivits för att sedan skildra teknikerna genom hela arbetsprocessen för att öka förståelsen för icke sakkunniga. Den längre delen spaltar upp exempel på fullbordade projekt; vad som är unikt i varje fall och vilka lärdomar som framkommit. Kapitel därpå tar reda på vad datorgrafik har tillfört museum och dess besökare och vilka fördelar virtuella museer har. Summering följer innan diskussioner om vilka frågor arkeologi väcker inom datorgrafik samt om det finns etik och faror i den digitala tekniken. Studien avslutas med blickar mot framtida utmaningar.

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For the last decade many spaces of museums have meet new demands; the spaces are getting less specific to the art it is displaying as the need of flexibility, total control or alteration of light e.g. has increased due to various reasons. For many art forms those conditions can be beneficial. But how one perceive the three-dimensional art of sculpture is something different, than two dimen-sional art such as painting, and there for the demands on the architectural spaces and its qualities are different. A museum exclusively for the art of sculpture does not exist in Stockholm, without it being mixed with other art forms or dedicated to just one artist. Therefor it is of   curtail interest to introduce a museum dedicated to sculpture in the context of Stockholm.

This study investigates how two museums in Europe embody and portray prostitution and sex work. This paper is based on a comparison between the Red Light Secrets Museum in Amsterdam and the walk out tour We have always been everywhere in Berlin. The purpose of this essay is to discuss and analyse how, within various museum activities and dimensions, prostitution can be described and portrayed based on different contexts. The method used to conduct the investigation is based on observations and a thick description of the audio guides found in the museums. This will be examined through theories based on the view of prostitution and visitor behaviours. This paper will also include an analyse of spaces and places.    This study concludes that the two museums are similar in how to display the different dimensions of their exhibitions. Both museums discussed how prostitution is described, portrayed the sex buyer, the visitor’s integration with the museum, how to handle control and the shape of the environment. But they had different approaches to the material. The walk out tour approaches prostitution from an Empowerment paradigm. The Red Light Secrets Museum is more ambiguous in its material and can to some extent be connected to an Empowerment paradigm. However, since it also includes other views than the conventional ones, the material should be considered more from the perspective of the Polymorphous paradigm. To inform the visitor of their information the audio guide and the environment in its in-situ settings came to be an important tool for both museums approaches to portray prostitution. The previous research that has been done on prostitution, from this papers view, is very lean. It´s therefore problematic to draw conclusions about the material based on earlier research and theoretical approaches.

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