本研究係探討臺北縣校園公共藝術規劃之構想、原則、程序、師 生對規劃之認知與意見、教職員對規劃之滿意度等。研究方式採文獻 探討、問卷調查、實地觀察、訪談進行，抽取臺北縣已規劃校園公共 藝術，且施作完成之五所國高中師生572 名為問卷調查對象，以每校 兩位學校教職員為訪談對象。資料採用描述性、以次數百分比統計、 獨立樣本t 考驗、單因子變異數分析、Scheffe′Method 事後比較分 析等方法研析，提出結論與建議。歸納本研究發現，獲致十二點結論， 並提出建議，供校際經驗交流，以提高規劃實務品質。茲將研究結論 摘要概述於后： 一、校園公共藝術之規劃緣起、規劃構想大多結合各校教育理念 與辦學目標，其中校長之教育理念最為關鍵。學校公共藝術規劃重要 原則有：公共性、藝術性、經濟性、教育性等。 二、臺北縣五所國高中校園公共藝術之規劃方式，多為邀請藝術 家製作。其規劃程序，係依據臺北縣政府規定程序進行。 三、臺北縣五所國高中所規劃完成之校園公共藝術，以具體類 型、戶外形式、視覺性、可以多角度觀賞作品為主。 四、學校師生較少參與校園公共藝術規劃；師生對問卷中有關校 園公共藝術規劃之敘述，皆表示同意；其中男性同意平均數，高於女 性；學生同意平均數高於教師。教職員年齡差異，則不影響教職員對 各題項的同意平均數。 五、不同學校規模，對問卷題項之敘述，學校班級數30班以下學 校師生之同意平均數最高。 六、創校歷史差距下，創校10 年以下學校師生，對各題項之同 意平均數最高。 ii 七、對於有關校園公共藝術類型題項之敘述，其中「喜歡公共藝 術類型」、「類型有地方特色」兩題項，以七年級學生之同意平均數最 高。 八、師生在問卷調查各層面中，同意平均數最低題項為：「校園 公共藝術具有教學功能」，次低題項為「公共藝術作品的材料具有地 方特色」。 九、師生在各層面中，同意平均數最高題項分別為：「覺得校園 公共藝術的類型很有創意」、「公共藝術使用了安全材料」、「覺得 校園公共藝術作品美化了校園」、「覺得校園公共藝術作品的色彩很 美觀」、「覺得校園公共藝術設置的地點很適宜」、「覺得很容易接 近校園公共藝術」。 十、臺北縣五所國高中在規劃過程中所遭遇之困難為，臺北縣可 供參考諮詢具有規劃經驗學校案例較少，各校多向臺北縣文化局人員 請教；部分學校在公共藝術設置後，因考量觀賞安全，要求藝術家更 改藝術品造型或作品附近之裝置，因而改變校園公共藝術原貌。 十一、學校教職員對訪談項目滿意程度最高之項目為「校園公共 藝術的規劃程序」；對「規劃構想的宣導」及「作品完成後的宣導活 動」兩項規劃之滿意程度最低。 十二、臺北縣五所國高中教職員依其規劃經驗，給其他學校的建 議：規劃時宜有專家學者、學校師生與家長代表參與；規劃宣導可結 合領域課程與辦學理念；作品宜標示公共藝術之緣起、構想、主題意 涵。 最後，根據以上研究結論與文獻資料，對規劃單位、藝術創作者、 未來研究者，提出建議。 關鍵詞：學校校園、公共藝術、公共藝術規劃 / Thesis Abstract Department of Education, National Chengchi University Management of public arts on the campuses of high schools in Taipei County –take five high schools for examples Yu-Ho, Chen Advisor: Dr. Chi-Min, Tang The purposes of this study are to examine the idea, principles, process, realization and suggestion from teachers and students, the satisfaction of staff. The research adopts various ways such as literature, questionnaire, campus Assessment , and interview to examine the feedback of five Taipei County high schools which have set up public art. The research includes 572 teachers, students, and staff. The conclusion and suggestion are made by carefully examination of descriptive statistics, percentage statistics, Independent Sample t-Testing, and Scheffe  method. Hope the research could provide more chances in exchanging experiences from campus to campus thus raise the quality of further management. The conclusion and detection of this study is as followed: 1. The origin of Taipei County high school public art is resulted from school goals and schools development. The most important factor that affects the public art is principal’s educational expectation. The key principles are publicity, beaux arts, economics, safety, education, integration, and access. 2. The management of Taipei County public art is made by licensed artists. The plan is processing by rules made by Taipei County Hall. 3. They are concrete, outdoor, multi-angled, visual, the campus public art works set up in Taipei County high schools. 4. Not all students and teachers participate in the management of campus public art. They feel the most satisfied with the description of campus public art. Male tend to agree to most of the questionnaire than female do. Students show higher agreement than teachers do. The age discrepancy does not involve in the degree of agreement. 5. Different school sizes affect the result. Students and staffs in the schools which have fewer than 30 classes show the highest agreement to the questionnaire. 6. Different school history involves in the result. Students and staffs in schools with less than 10 years history show the highest degree of agreement about other items. 7. Seven graders show the highest agreement than eight and nigh-graders in items “the art work has local characteristics” and “the fondness of public art”. 8. All the respondents show the lowest agreement toward item “campus public art contains educational function”, and the second lowest item is “the materials of the public art contain local characteristics.” 9. Among the six aspects of types, materials, realization, color, location, and access, students and teachers show the highest agreement toward “I feel the campus public art is creative”, “I feel the color of campus public art is beautiful”, “I feel our campus public art locates in proper location”, “It is easy to access our campus public art.” 10. The difficulties occurred during the execution and establishment of Taipei County high campus public art works are as bellows. First, there are fewer cases and experienced schools for suggestions and references of campus public art management. Most schools try to counsel the members of Taipei County Cultural Bureau to solve this problem. Besides, for the safety side, a few schools will ask to remodel the art work or to change its surroundings which change its original design. 11. The staffs show the most satisfied items toward “The process of management of campus public art”. They show the least satisfaction toward the items “The explanation of the idea of the public art” and “the explanation of the public art after it has been set.” 12. With their experiences, the five Taipei County high schools which have already own the public art work give suggestions to other schools that are processing to have their own public art. First, to have parent representative, students, teachers, and experts join the management of public art. Second, the propagation could combine school curriculum and the ideal of the school. Last, the art work should mark the origin and the meaning of the topics of campus public art. To conclude with the analysis of literatures and the results of the study, ten suggestions are offered to schools which are interested in campus public art. Key words: campus, public art, the management of public art

published_or_final_version / Architecture / Master / Master of Architecture

This thesis analyses the public art competitions arranged by the Public Art Agency Sweden (Statens konstråd) 1937-1970 and the discussions about public art competitions in within the art field of the 1940’s, -50’ and -60’s. The main material for this analysis has been the protocols of the Public Art Agency and the annual paper of the Swedish Artists' National Organization (Konstnärernas riksorganisation). The theoretical and methodological framework is based on Pierre Bourdieu’s understanding of the art field, and institutions as agents within that field. I also use Foucauldian discourse theory as another theoretical tool to understand the power relations between these institutions in the art field. My aim has been to understand why there were competitions for public art commissions – the purposes, the processes, the discussions and how these factors change over the decades. The purpose for public art competition can be understood through the ideology of the Swedish welfare state and the cultural policy of the Social Democratic government in the 1930’s. The public art competitions could support the Swedish artists economically, but was also a way for the Swedish Government, through the Public Art Agency, to control and guarantee that the public artworks were of high artistic quality. This idea of artistic quality became more and more dominant as a purpose for the competitions through the 1950’s and 1960’s.  The artists active in the Swedish Artists' National Organization found the competitions to be of great importance and the competitions were much discussed in the organisations annual paper. Many of the artists that discussed the artist competitions were of the same generation born in the 1910’s or 1920’s and were working with public art commissions to a great extent. For them, the public art competitions gave recognition and a possible income. My analysis also shows that the public art competitions were also connected to the concept of modernism. The status of the competitions changed along with the changing concept of modernism. The competition was at its highest status in the 1930’s and 1940’s, when many artists were engaged in public art commissions. It became less popular among young artists in the 1960’s, when the art field was more politically radical and critical against authorities.

published_or_final_version / Education / Doctoral / Doctor of Philosophy

published_or_final_version / Architecture / Master / Master of Architecture

Keep Denton Beautiful (KDB) is inspired by Keep America Beautiful's model of community engagement to create a clean, beautiful, and vibrant city. The community mural initiative, Artscapes, aims to enliven public spaces, abate graffiti, and inspire community members to keep Denton, Texas, clean and beautiful. The goals of this research project are to understand the impact of Artscapes initiative, community perceptions of public art, and find ways KDB can better align future mural projects with the needs and desires of community members. By talking to artists that have worked with KDB, members of the mural art committee, and community members from the neighborhoods that have existing murals, this research provides input from these three populations to continue creating public art for the Denton community. I discuss the context of my work through Lefebvre's concept of "Right to the City," Rafael Schacter's opposition between sanctioned and non-sanctioned murals, Bourdieu's concept of symbolic and social capital, and David Harvey's work on neoliberalism and the entrepreneurial city.

Master of Landscape Architecture / Landscape Architecture/Regional and Community Planning / Mary C. Kingery-Page / The purpose of this study is to investigate and design public light art installations. The investigation consisted of evaluating select examples of public light installations in order to develop a typology, and designing two site-specific light art installations: one in Wichita, Kansas, and the other, in Denver, Colorado. Though public light art is found in most cities, its potential is often lost or unrecognized. In certain cases, public light art can be ‘plop art,’ which is plopped senselessly without much regard to context or experiential qualities. This project seeks to explore the different types of public light art and to find what approach or qualities should be considered when designing public light art. My approach can be described as artistic research. The methods include an apprenticeship to an artist, a precedent study, development of a light typology, an analysis of site and context, establishing a design matrix for two design projects, and an iterative process of making. Each of these methods were undertaken in order to effectively address my research question: What type of public light art is most appropriate for a specific site and how does it relate to creative placemaking? This project overlaps with a collective project group entitled Creative Place-Making, which is comprised of other fifth-year master of landscape architecture students with an underlying interest in art and design as place-making tools. Each student in the group addressed the site in Wichita, Kansas in a unique way. I addressed this site as a temporary landscape, creating an interactive light installation intended to be in place up to five years. In contrast, I addressed the Denver, Colorado site as a long term landscape, and designed a sculptural illuminating gateway. Each of these light art installations were informed by a particular set of characteristics that make each design site-specific.

Multiculturalism or cultural pluralism is a policy, ideal, or reality that emphasizes the unique characteristics of different cultures in the world, especially as they relate to one another in immigrant receiving nations. The word was first used in 1957 to describe Switzerland but first came into common currency in Canada in the late 1960s2. It quickly spread to other English- speaking and western developed countries.Although There is no clear link between the multiculturalism and the term that so called Balkanization, But this research tries to present the similar possibility of Multiculturalism discourse and Balkanization as a geopolitical term. In fact this research believes that   balkanization is The same idea of multiculturalism in practice, when it comes to the idea of state. On the other hand Vijay Parshad in his book Everybody was Kung Fu fighting  says that "I am interested in “how an investigation of kung fu can help us move from a limited multicultural framework into an antiracist, polycultural one.” This is the research and video that has been made about Bruce lee statue in Mostar, the divided city in Bosnia and Herzegovina", as a method of working in hyper- politicized society.

Barnkonventionen reglerar barns rättigheter och ansvaret för att den tillämpas i fysiskplanering faller på kommunerna. Rätten till lek kan planeras resurseffektivt genom rationellplanering men för att barns rätt att uttrycka sig i frågor som rör dem krävs kommunikativplanering. Det ställer krav på att kommuner själva aktivt samlar in åsikter genom oprövademetoder och icke traditionella sätt att arbeta. Synen på konst inom stadsplanering harbreddats och offentlig konst har en självklar plats i våra städer idag. Det finns en traditionellroll av en konstnär där denne bidrar med ett verk i slutet av en planprocess men allt oftarebidrar konstnärer utifrån en roll som konsult eller inspiratör i planprocessen, både vidmedborgardialog och gestaltning. Syftet med studien är att se över hur konstnärlig kompetens kan verka för barn deltagande iplaneringen av våra städer. Metoden utgörs av en fallstudie över Kristinebergs Slottspark därbarn varit närvarande genom historien och även planerades fortsatt verka för barn i framtiden.Studien tar hänsyn till hur planeringsprocessen, planeringsdiskurs och fysisk utformningutförts med barns deltagande i åtanke. Intervjuer med projektets konstnärlig ledare PäviErnkvist samt konstnär Elisabeth Westerlund har utförts för att se över konstnärens roll.Slutsatsen är att konstnärlig inblandning och kompetens kan verka bidragande för barnsdeltagande men det ställer krav på kommunikativ planering, medborgardialog och tydligmålsättning från planerarnas håll samt en kunskap och bredare syn på konstnärens roll. Allt fler barn växer upp inne i storstäder och synen på vad de kan bidra med har till viss delförändrats. Idag anses barn vid tillfällen vara experter på sin egen miljö och bidragande tillnya sätt att se på planeringen av våra offentliga miljöer. Deltagande är viktigt ur ettdemokratiskt perspektiv och värdefullt för människors livskvalitet. Synen på konstens värdeför stadsplanering har emellertid vunnit större acceptans genom ett mätbart ekonomiskt värdevilket omvandlar en del av varje byggbudget till konst. Konst främjar dialog och resulterardessutom ofta i fysiska verk i vår stad. Kan barn då vara med och skapa staden genom konst? / Communicative planning is considered to create participation for many social groups andcontribute to new perspectives on urban planning of public spaces as more levels ofknowledge are added. Through communicative planning, children's right to be consulted onmatters concerning them as stated in the Convention of Childrens Rights, can be taken in toaccount. But in order for children to be heard municipalities are required to actively collectchildren's views, and that in itself demands unproven methods and non-traditional ways ofworking. The view of art in urban planning has broadened. The traditional role of an artist iscontribution with a piece at the end of the planning process, but an artist's work can alsocontribute artistic competence or act as an inspiration. These roles, compared to thetraditional role, have not been fully accepted by officials and planners. The purpose of this study was to examine how artistic work can promote greater participationof children. An extensive literature study has been conducted based on scientific papers,legislation, reports from concerned authorities, reports, statistics, interviews and facts to get abroad understanding of children's participation and the role of art in the planning discourse,the planning process and the design of our public spaces. To interviews were held withartistic leader Pävi Ernkvist and artist Elisabeth Westerlund. The conclusions drawn were thatartistic involvement and expertise can enhance the communication with children, whichcreates a higher level of participation. Art can serve as a prototype for possible changes andwithin it the reflections may eventually create spaces based on the children's terms, whichcan give them a higher level of participation, primarily in smaller projects.

American Indian graffiti muralism is a terminology that embodies the contemporary public art form of mural production by American Indian artists using public art installations to express ontologies of sovereignty, self-determination, and identity in different public spaces and on different objects. To date, there is no scholarship that has focused solely on American Indian graffiti muralism and ethnic markers within the medium of graffiti muralism. The dissertation, "American Indian Graffiti Muralism: Demystifying the Graffiti Medium and the Visual Harmonics of American Indian Signatures on the Modern Landscape," centers on the functionality of American Indian graffiti murals as markers of sovereignty, self-determination and identity in off-reservation municipal urban settings. Using a mixed methods framework of both qualitative and quantitative analysis this dissertation will provide new scholarship within the field of American Indian/Native American Studies and discourses on Native art and Native public art. Due to the fact that these public artworks contain multiple functions and meanings a mixed methods interdisciplinary analysis using the American Indian theoretical model of Survivance coupled with a social science theory of Geosemiotics, interviews with American Indian graffiti muralists, and quantitative empirical data collected through community-based Q survey creates a multi-narrative on the functionality of American Indian graffiti muralism. The aim of this research is to explore the functionality of different American Indian graffiti mural installations using Gerald Vizenor's Indigenous theory of survivance and the social science theory of geosemiotics. The theory of survivance aids analysis on how American Indian graffiti muralists infuse iconography and visual semiotic elements in their public art installations that (re)claim public spaces and infuse ontologies of sovereignty, self-determination, and identity in cityscapes. This is the first usage of survivance theory with Native public art and provides an ethnically appropriate means to investigate American Indian graffiti muralism. Geosemiotics theory provides analysis on how different American Indian graffiti murals interact with the physical landscape they reside within to create ideals of place and place perceptions in the populace. Geosemiotic analysis of American Indian graffiti murals illuminates how the art adds to a pluralistic public dialectic of place. By creating a dualistic theoretical lens this research addresses the suggestion that new discourses on Native art and Native public art require more analysis involving theoretical models and Indigenous ways of knowing through use of survivance theory, while also showing how a secondary social science theory can bolster a qualitative narrative on the functionality of Native public art. Artistic analysis is inherently subjective and the multi-theoretical application in this dissertation addresses how subjectivity and socio-political elements of American Indian graffiti muralism require a fully rounded framework to explore the function of these installations in our cities. The narratives of American Indian graffiti muralists regarding their mural installations offer intimate knowledge on the function of this art form and in this research provides first-person accounts of how artists approach public art differently than their studio art productions. It was also important to offer the perspectives from the artists themselves to illuminate how this graffiti muralism came to be the chosen form of artistic expression. The conversations with Yatika Fields and Jaque Fragua offer a secondary perspective to those of the researcher and public citizens. To further capture all of the perceptions surrounding American Indian graffiti muralism a public survey using Q methodology was completed to provide a platform for community-based input. Q methodology was used as a means to collect empirical data on the subjective attitudes towards American Indian graffiti murals. The output of Q surveying provided the first empirical data on American Indian graffiti muralism and concluded the multi-narrative of this project in the statements generated and tested by multiple public citizens. Furthermore, this multi-narrative foundation furthers future discourses in American Indian/Native American studies, the social sciences, and Native art historical research by offering elements that each can utilize as points of discussion and dissection.