The Dolmabahçe Palace in Istanbul, Turkey, stretches along the European side of the Bosphorus shore in monumental glory, opened with great fanfare in 1856. An unapologetically lavish and bold statement from an Empire that would not last another century, the palace sits at a crossroads between Ottoman and Turkish history, representing in one era optimism for the future and in another era the decaying remains of the past. Despite its construction in a time of modernization and liberalization within the Empire, current interpretations of the palace describe it as both a symptom and a cause of this decay—an exercise in international chest-thumping meant to show Ottoman strength, blind westernization, or the bankrupting capricious work of a frivolous Sultan. An understanding of the ways in which this era of Ottoman history, and thus the narrative of the palace, have been politicized reveals the bias in these perspectives and obscures the true purpose of the palace: to serve as a physical embodiment of the principles of reformation and modernization. Using the language of architecture, the palace addresses a time of great national and international change by speaking to the creation of a civic Ottoman identity, providing tangible proof of the Empire’s political commitment and drive to reform, and encouraging Ottoman citizens to take up a more modern lifestyle. The building’s eclectic and ornate style represents a synthesis of identities and outlooks that link the Tanzimat reform era and the reign of Sultan Abdülmecid to an Ottoman past, a reforming present, and an internationally-oriented future. It is the goal of this study to demonstrate how exactly the Dolmabahçe Palace communicates the architectural as political—the ways in which its forms, symbolism, and ornamental pattern language speak to an Empire and a world in the process of change. / text

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This thesis examines the patronage and collecting of Alexander, l0th Duke of Hamilton, premier peer of Scotland, son-in-law of the maniacal collector William Beckford, and arguably the greatest collector in the history of Scotland. Using archival evidence from many sources, it begins with investigations of the Duke's early collecting of Italian Renaissance paintings and manuscripts, acquisitions associated with Russia between 1807 and 1814, involvement with Princess Pauline Borghese and the Bonaparte family, and purchases of porphyry and marble in Rome between 1817 and 1827. Chapters 5 and 6 focus on the extension and refurbishment of Hamilton Palace between 1822 and 1832 and parallel purchases of furniture, furnishings and applied art. Special attention is paid to motivation and the acquisition of items from the Fonthill sale, tapestries made for Cardinal Pietro Ottoboni, furniture owned by Marie-Antoinette, Napoleon's 1810 tea service, bronze statues (wrongly) associated with Francis I of France - which served to underline the Duke's status and "support" his claim to the French dukedom of Chatellerault - and porphyry busts of Roman emperors that were "superior" to the bronze copies in the British royal collection. Chapter 7 reviews the last grand projects: the extremely expensive great black marble staircase, planned equestrian monument of the Duke as Marcus Aurelius, and Hamilton Mausoleum. The final chapter concentrates on the later purchases of Classical items and plaster copies, second marble bust of Princess Pauline, Thorvaldsen 's Napoleon Apotheosized, and Old Master paintings, and discusses how the Duke displayed his collection, in colourways, running sequences, clusters, and "end statements". A ''post mortem " conclusion sketches out the continuity of collecting Napoleonic material, as a consequence of the Duke's son and heir's marriage to the daughter of the adopted daughter of Napoleon and cousin of Napoleon Ill and the dispersal of the collection and demolition of Hamilton Palace between 1880 and 1930.

Le matériel peint du Palais califal de Samarra est issu d'une fouille datant de 1913, il a traversé deux guerres mondiales et a été distribué sur plusieurs institutions à travers le monde. En outre la seule publication significative dont il a fait objet date de 1927 (Malereien) et il n'a pas été réévaluée depuis à l'exception de quelques études (iconographiques pour la plupart) aux interprétations divergentes. Ce travail fait d'abord une mise au point sur l'état actuel des peintures murales et des jarres peintes issues de ce Palais. Une analyse combinant l'observation directe de ce qui est conservé avec les données des archives et la confrontation avec ce qui est publié est ensuite proposée. En prenant en compte les travaux récents dont le Palais a fait objet et les publications plus ou moins récentes sur des témoignages archéologiques, techniques ou iconographiques pertinents au contexte, une étude argumentée tente de clarifier certaines questions d'interprétation de ce matériel et de sa datation. Le recours aux sources textuelles apporte de façon ponctuelle un appui au propos. Loin d'avoir résolu toutes les questions, ce travail a d'abord démontré que, bien qu'incontournable, le recours au Malereien devrait être complété par un retour aux archives et au matériel conservé. Ensuite l'analyse a révélé que ces peintures relèvent essentiellement d'une tradition locale, notamment pour leurs techniques. Une mixité de références est cependant décelable dans le vocabulaire iconographique où l'ancrage local reste plausible mais où d'autres pistes d'interprétations sont également envisageables. / The painted material uncovered at the Caliphal Palace of Samarra comes from an old excavation dating back to 1913, it went through two world wars and was distributed over several institutions throughout the world. Besides it has not been reassessed since then, apart from few studies (mainly iconographical) with divergent interpretations. The present study first provides an update on the present state of the murals and painted jars discovered at this Palace. It then offers an analysis combining observation of the preserved pieces and the study of archival data and a comparison with the already published information and analysis. Taking into account recent works and studies that have dealt with the Palace as well as recent publications related to archaeological, technical or iconographical evidence relevant to the context, a reasoned study attempts to clarify issues related to the interpretation of this material and its dating. Literary sources are sometimes used to support the arguments. Far from having resolved ail the questions, this study has first demonstrated that, although unavoidable, the Malereien shouldn't be the only source to rely on and that archival data and preserved material should also be taken into account. Then, the analysis has shown that this material stems principally from a local tradition, particularly as far as its techniques are concerned. However, the iconographic vocabulary reveals diverse references where local roots remain plausible but other interpretations are also possible.

¡@¡@This research aims to find how museums combine marketing strategies with tourism through probing into marketing strategies and experience of the National Palace Museum, and profoundly explore the benefits generated by treating the museums as the tourist destinations. We expect to suggest future feasible marketing strategies for the National Palace Museum through objective examination and function as reference for domestic museums and other related industries. This research is based on qualitative case study and interviews the National Palace Museum, the people in museum circle, chief of the community, tour guides and tourists by face-to-face and telephone interviews. In addition, it includes on-site observation and related documents as the criteria for the study and analysis of this paper. The research framework is divided into three dimensions: internal examination, external relationship and marketing strategies of the museum. There are 14 elements being investigated, including organization, personnel, the collection, exhibition, the building, location, image/brand, strategic alliance and international collaboration, empowerment and cross-industrial cooperation, community, pricing strategy, media and event marketing, internet marketing and digital collections, films and publications etc. The research conclusions are below: In terms of ¡§organization¡¨, the adjustment of the National Palace Museum is still not passed by law. How to respond to external forms and adjust internal organization become extremely critical. With regard to ¡§personnel¡¨, most of the personnel in the National Palace Museum have experienced professional training and they are all qualified; the tour guiding quality is excellent and the facilities are new; they contribute to the promotion of art education. As to ¡§the collection¡¨, it includes over 650,000 Chinese antiques, royal and palace articles and literatures. However, the museum should be prepared for the possible antique dispute in the future; as to ¡§exhibition¡¨, besides the internal exhibitions, the National Palace Museum also actively keeps up with the world; holding special exhibitions is one of the most effective ways to increase domestic visitors; in terms of ¡§the building¡¨, the National Palace Museum is built on eastern traditional building with exotic attraction; after reconstruction, the National Palace Museum increases the square measure of exhibition and boutiques and food shops become spacious; as to ¡§location¡¨, it is far away from downtown and inconvenient in terms of transportation. With regard to the creation of ¡§image/brand¡¨, the National Palace Museum replaces old image with new image by new concept, lively and diverse methods. As to ¡§Strategic Alliance and international collaboration¡¨, it cooperates and exchanges with well-known museums, such as loan and return exhibitions. ¡§Empowerment and cross-industrial cooperation¡¨ is the principal target of present operation. It increases brand authorization which result in soaring growth of authorization sum. Diverse cross-industrial alliance livens the antiques and increases their economic value. With regard to ¡§community¡¨, the residents in the community can visit the National Palace Museum for free. However, the parking problems still discourages the residents. In terms of ¡§pricing strategy¡¨, the prices of the products in the shops seem to be high. It can still develop ordinary price products. With regard to the relationship with media, the National Palace Museum has been holding special exhibitions with media for long term with satisfying results. Among international media, Japanese media exposes the most. In terms of ¡§internet marketing¡¨, WWW design is remarkable with countless awards. It also actively proceeds with ¡§digital collections¡¨. As to ¡§films and publications¡¨, in recent years, it has been devoted to shooting the films and advertising to promote the National Palace Museum. High-quality publications are also awarded which strengthen the overall image of the National Palace Museum. Generally speaking, the most critical three elements of the National Palace Museum marketing are collection, visitor service and brand image. The unfavorable elements include organization mechanism, location and relationship with community.

Texte remanié de: Inaug. -Diss.--Kunstgeschichte--Ludwig-Maximilians-Universität--München, 1993. / Bibliogr. p. 309-350.

Zanzibar has become a well-known tourist destination with its spices, friendly people, beaches and year-round warm climate. The tourism industry has become one of the main economic sectors of the island and provides income to people from all economic backgrounds. Zanzibar’s World Heritage Site, Stone Town, is known for its small alleyways and plazas. Tourists often get lost in this maze of alleys. This public open space acts as a place to exchange ideas, as well as cultural and religious practices. It contributed to the amalgamation of a cosmopolitan people into the Swahili culture. Economic growth over the past 30 years has brought about rapid urban sprawl with a lack of well-designed public open spaces. The lack of public open space, as well as the negative impact of tourism on the local culture, is busy eroding the Zanzibari culture. This research investigates how landscape architecture can nurture identity and aims to showcase the ability of landscape architecture to act as a catalyst towards nurturing identity through a well designed public open space. Mtoni Palace is a national monument of Zanzibar and a site of high heritage significance. Today, the Palace lies in ruins and the aim of this study is to provide a new vision for Mtoni Palace. / Dissertation (ML(Prof))--University of Pretoria, 2014. / Architecture / ML(Prof) / Unrestricted

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