As urban centres rapidly expand, a trend appears to be happening which is threatening the uniqueness of these centres. International homogenization is making the place "a small world after all". To deal with this, cities have established institutions and attractions to celebrate the heritage, culture and characteristics of a place. Tourist attractions are built with the goal of giving visitors the "most real and authentic experience" of the place, distinct from anywhere else in the world. They also play a significant role in educating the local citizens and improving their daily experience of city life, which may be taken for granted. Playing on Vancouver's infamous reputation, this project, the Museum of Rain, will attempt to give visitors an "authentic" experience of what it is like to live in perhaps the rainiest city in North America. The site is on the north shore of False Creek, on the old Expo lands, along the Seawall. The location of the project helps create a continuity of attractions with Science World, Chinatown, Gastown and the sports stadiums, all located in the area. As well, it provides an opportunity for a visual attraction in the urban landscape along the Seawall, thus, strengthening and improving an area that is quite desolate at the moment. The museum is designed to give the visitor a heightened sense and appreciation for this aspect of nature, which may be disliked or taken for granted by many people. There are basically two parts to the building, an information ban on the north side of the building and an experiential zone to the south. The experiential zone is divided according to the senses of sound, sight, smell and touch. It is with the exaggeration and amplification or rain through the senses and the educational information that the visitor's experience will be greatly impressed into their memory and implore a better understanding and appreciation for Rain.

In October 1997 The Emily Carr Institute of Art and Design proposed that a Museum of Moving Images be built at the site adjacent to the intended Granville Island Film Center currently under development permit application at The City of Vancouver. ECIAD intended the museum to show "... the magic in which the film was created by..." In addition, the program would comprise a library of books, videos, and compact discs. The starting point of the thesis was the two key words of the program: "moving" and "image". The museum was dependent not only the phenomenal qualities of site but the recognition of the visceral and of the construction of images through human vision and experience. The thesis explored fundamental constructs of film (the projection of light through an image on transparency onto a surface and further, the way the eye registers that phenomena) as a basic framework for realizing the principles of the moving image. Beginning at the ground both the parking on the site and the adjacent site gradually slopes to the lowest part of the "bar" building which from ground to sky consists of gallery, retail space, library, small theater and administration offices. The bar is intersected by a series of "tubes" containing the museum spaces. The front facade along the retail strip is the point at which all of the program can be read simultaneously. The first tube begins at the point of entry of the museum and gradually rises and switches back and forth through the site up to the third level of the larger bar building where there is a connection to the neighbouring film center, the library, or the roof top. Each tube is punctured with slots that allow glimpses and chance visual connections of other bodies moving through the museum and facilitates the registration of the bodies position within the space of the museum and the site.

As urban centres rapidly expand, a trend appears to be happening which is threatening the uniqueness of these centres. International homogenization is making the place "a small world after all". To deal with this, cities have established institutions and attractions to celebrate the heritage, culture and characteristics of a place. Tourist attractions are built with the goal of giving visitors the "most real and authentic experience" of the place, distinct from anywhere else in the world. They also play a significant role in educating the local citizens and improving their daily experience of city life, which may be taken for granted. Playing on Vancouver's infamous reputation, this project, the Museum of Rain, will attempt to give visitors an "authentic" experience of what it is like to live in perhaps the rainiest city in North America. The site is on the north shore of False Creek, on the old Expo lands, along the Seawall. The location of the project helps create a continuity of attractions with Science World, Chinatown, Gastown and the sports stadiums, all located in the area. As well, it provides an opportunity for a visual attraction in the urban landscape along the Seawall, thus, strengthening and improving an area that is quite desolate at the moment. The museum is designed to give the visitor a heightened sense and appreciation for this aspect of nature, which may be disliked or taken for granted by many people. There are basically two parts to the building, an information ban on the north side of the building and an experiential zone to the south. The experiential zone is divided according to the senses of sound, sight, smell and touch. It is with the exaggeration and amplification or rain through the senses and the educational information that the visitor's experience will be greatly impressed into their memory and implore a better understanding and appreciation for Rain. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

In October 1997 The Emily Carr Institute of Art and Design proposed that a Museum of Moving Images be built at the site adjacent to the intended Granville Island Film Center currently under development permit application at The City of Vancouver. ECIAD intended the museum to show "... the magic in which the film was created by..." In addition, the program would comprise a library of books, videos, and compact discs. The starting point of the thesis was the two key words of the program: "moving" and "image". The museum was dependent not only the phenomenal qualities of site but the recognition of the visceral and of the construction of images through human vision and experience. The thesis explored fundamental constructs of film (the projection of light through an image on transparency onto a surface and further, the way the eye registers that phenomena) as a basic framework for realizing the principles of the moving image. Beginning at the ground both the parking on the site and the adjacent site gradually slopes to the lowest part of the "bar" building which from ground to sky consists of gallery, retail space, library, small theater and administration offices. The bar is intersected by a series of "tubes" containing the museum spaces. The front facade along the retail strip is the point at which all of the program can be read simultaneously. The first tube begins at the point of entry of the museum and gradually rises and switches back and forth through the site up to the third level of the larger bar building where there is a connection to the neighbouring film center, the library, or the roof top. Each tube is punctured with slots that allow glimpses and chance visual connections of other bodies moving through the museum and facilitates the registration of the bodies position within the space of the museum and the site. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

The Inner Landscape A matrix of cognitive and environmental structures A geometric interface of mind and nature A gallery in the wood / Master of Architecture

This thesis explores the possible resolution of colliding autonomous architectural entities. The manifestation of this resolution occurs in the design of an art museum that utilizes the memory of the Victorian national spirit. The realization of this program underlies the author's continued pursuit to define the entities of boundary and threshold. This entire enquiry is presented through the utilization of photographs, drawings, and supporting text. / Master of Architecture

published_or_final_version / Architecture / Master / Master of Architecture

Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1982. / MICROFICHE COPY AVAILABLE IN ARCHIVES AND ROTCH. / Colonial stronghold, gateway to the west, forge and hearth for the industrial growth of the United States, the City of Pittsburgh, like few others, lays strong claim to prominence in all eras of the nation's development. The thesis is a design proposal for a museum facility in which to exhibit a collection of artifacts and documents of that particular heritage, a place in which the city's people and visitors will be informed of the roles Pittsburgh has played in the history of the country. The objective is to create a center which not only provides a home for research and display, but which also communicates the public nature of its offerings. It is, therefore, a proposal to study the manner in which architecture both specifically and emblematically contributes to cultural and historical understanding. It is my thesis that with care, a building can be designed which both in form and content creates an environment organizing perceptions of history. The intent lies in a means of defining the potential for architecture to strengthen memories of particular civic interest. / by August G. Schaefer. / M.Arch.

Title from PDF of submission page. / Document formatted into pages; contains 49 pages. / Thesis (M. Arch.)--University of South Florida, 1999. / Includes bibliographical references. / Text (Electronic thesis) in PDF format. / ABSTRACT: Civilization seems barely able to keep up with the new information technology. Therefore, I propose a place where the technologies of the future may be interacted with like the comfortable knowledge of the past. I propose a place where technology may be interacted on as in the realm of the past with the doors of the future ahead. The Museum of Science and Industry, where the grasp of our technological history is displayed, would be an ideal site for the creation of a Prototypical Computer Museum. With its close proximity to the University of South Florida, resources and participants would be abundant. The Prototypical Computer Museum will be a place where the education and explanation of new technology is continued. / This would also provide an arena for the development and interaction of state-of-the-art computer technologies and will be considered the cultural centerpiece for the new millenium. Activities at this Multi-Media Center range from basic explanations of initial computer inventions to on-site research and development of future technologies. Permanent and traveling exhibitions would attract and expose people of all ages to the new waves of technological devices and inventions that engulf our daily activities. This simple ideal is blanketed with a variety of complicated sociological issues that will be addressed throughout the thesis research and its fruition. The fundamental paradox is the borderlessness of the technology, which is continually at odds with the structures housing and exhibiting such technologies. Another major concern is the development of virtual reality and its dwindling necessity for the development of the architecture that contains it. / This is a technology that is accessible anywhere but located nowhere. As Otto Riewoldt states, "By reacting to the digital dematerialization of the world, architecture becomes increasingly individualized."1 In the words of American architectural critic Herbert Muschamp, "subjectivity takes command. Like surrealists these architects seem determined to blur the border between waking reality and the dream state." / System requirements: World Wide Web browser and PDF reader. / Mode of access: World Wide Web.

In designing a National Museum for the Imaging Arts, a dual obligation is created. It is to provide an intimate place for the cherishing of manifestations of the individual, while also creating, at the scale of the nation, a symbol of the civilization. Architecture accepts this obligation through the hierarchical scaling of the referents of order, material, space, and light. / Master of Architecture