Museums, art galleries, and historical sites house items of important cultural value. They must provide sufficient lighting to allow for the public viewing of these items, but are also responsible for conservation of them, which requires strict control of the light levels on delicate materials. Windows provide many benefits to building occupants, but for light control, museums restrict the use of daylight. Electrochromic (EC) glazing changes opacity based on electrical charge, so it is possible to vary the amount of daylight admitted through windows. EC glazing can be integrated with museum lighting through a building management system, which can modulate light levels based on a variety of inputs. The Renwick Gallery is used as a case study for the potential application of EC glazing in a museum space. Because of other requirements for the management of environmental conditions, the use of EC glazing will not show a significant reduction in energy consumption. However, the benefits of access to windows, daylight, and views justify its use. EC technology is advancing rapidly. Due to its current limitations and the logistics of application into a historic structure, the Renwick Gallery may best be served by future advancements.

This thesis begins by investigating the evolution of traditional Chinese markets to Chinese supermarkets in North America. By charting the trends of these structures in shop floor layouts and site approaches, a hybridized architecture is uncovered. Then, through the design of a contemporary Chinese supermarket in Philadelphia, PA, the thesis demonstrates how values of identity and cultural awareness can be brought into dialogue with architectural trends.

This thesis examines the history of the Folk Festival of the Smokies, which sought to preserve old-time music as an expression of southern Appalachian regional culture. The study uses qualitative methods, including personal interviews with one of the founders and significant festival participants, supplemented with archival and historical research into photographs, festival performances and literature regarding the festival. Since the festival operated for thirty-three years as a small festival in a relatively isolated location in eastern Tennessee, this case study serves as an example of the role of festivals in intangible cultural heritage preservation in relatively rural settings. The legacy of the festival is examined, along with its impact on succeeding festivals. The thesis concludes with a discussion of the role and future of music festivals in the old-time music community.

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This dissertation investigates how the process, politics, and impacts of culturally-framed redevelopment balance growth and equity within inner-city neighborhoods experiencing change. Redevelopment programs that draw upon existing arts and cultural assets have been supported and identified by planners as a strategy of local economic development. However, critiques of cultural preservation as a form of economic development argue that the norms and goals of such planning efforts and their impact on existing residents require further evaluation. For example, planning scholars find that cultural preservation may reinforce both existing spatial divides and forms of social exclusion. At the same time, the recognition of ethnic and minority heritage by non-local forces has been identified by some scholars as an opportunity to further the multicultural transformation of public history as well as locally sustainable community development that benefits the neighborhood's original inhabitants. I employ an extended case study research design and ethnographic methods to analyze how the process of producing authenticity contributes or impinges on development and market potential as well as social preservation efforts in a historic African American neighborhood, U Street/Shaw, within Washington, DC. An analysis of the implementation of the guiding vision for the neighborhood's cultural redevelopment, The DUKE Plan, occurs on three scales: neighborhood, anchor institutions, and individual (residents and visitors). Pro-growth strategies that bolstered the marketable "Black Broadway" place brand were supported at each scale rather than opportunities to preserve the neighborhood's identity through the retention of long-term residents and interpretation of the breadth of the community's identity. As a result of culturally-framed redevelopment, the U Street/Shaw neighborhood continues to gentrify causing a loss of belonging and ownership of cultural heritage among long-term residents. Solutions to ensuring that social equity provisions are delivered in culturally-framed redevelopment requires the adoption of accountability measures defined by existing residents during the planning process that commercial and government stakeholders must continually adhere to throughout and after implementation. / Ph. D.

This thesis project explores the development of a project about culture preservation conducted between an Italian designer and a Somali collector. For the process to be fair and respectful, a decolonising stance and a pluriversal approach were applied. The literature related to this area of interaction design will be presented with an insight into positionality, as well as design cases that hold an impact on the process and final design. Afterwards, it will be discussed the methodology employed for this case study that consisted of a dialogical and iterative process with a personal approach. The tangible result of this dialogue is manifested through a lectern that mimics the interaction between the two participants of the project. This thesis aims to advocate for the customization of the design process in order to respect the individualities and needs of the participants.

With the fear of decline of the Cape Breton fiddling tradition after the airing of The Vanishing Cape Breton Fiddler by the CBC in 1971, both the Cape Breton community and ethnographers clamored to preserve and maintain the extant practices and discourse. While this allowed for performance contexts and practices to burgeon, it also solidified certain perspectives about the “diasporic preservation” and resultant “authenticity.” This work aims to trace the seeds and developments of the beliefs surrounding the Cape Breton fiddling tradition, from the idealizations of Enlightenment Scotland to the manipulation and commercialization of the folklore and Celticism of twentieth-century Nova Scotia. These contexts romanticized older practices as “authentic,” a construct that deeply impacted the narrative about the Cape Breton fiddling tradition. One of the most rooted and complex concepts in this narrative is that of “old style,” a term that came to represent the idealized performance practice in post-1971 Cape Breton fiddling. As models were sought for younger players to emulate, pre-1971 “master” fiddlers with innovative stylistic approaches began to be identified as “old style” players. The interstices of the tradition allowed more extreme stylistic experimentation to be accepted as “traditional,” while the symbiotic social practice of dancing necessitated relative conservatism. Analysis will show that “listening” tunes fell into the interstices of allowable innovation, while dance (particularly step-dance) tunes demanded certain “old style” techniques. A more holistic view of the complexities of the Cape Breton fiddling tradition follows from a perspective not only of the socio-musical elements that shaped the historical narrative, but also of the musical elements of this dance-oriented “old style.”

With the fear of decline of the Cape Breton fiddling tradition after the airing of The Vanishing Cape Breton Fiddler by the CBC in 1971, both the Cape Breton community and ethnographers clamored to preserve and maintain the extant practices and discourse. While this allowed for performance contexts and practices to burgeon, it also solidified certain perspectives about the “diasporic preservation” and resultant “authenticity.” This work aims to trace the seeds and developments of the beliefs surrounding the Cape Breton fiddling tradition, from the idealizations of Enlightenment Scotland to the manipulation and commercialization of the folklore and Celticism of twentieth-century Nova Scotia. These contexts romanticized older practices as “authentic,” a construct that deeply impacted the narrative about the Cape Breton fiddling tradition. One of the most rooted and complex concepts in this narrative is that of “old style,” a term that came to represent the idealized performance practice in post-1971 Cape Breton fiddling. As models were sought for younger players to emulate, pre-1971 “master” fiddlers with innovative stylistic approaches began to be identified as “old style” players. The interstices of the tradition allowed more extreme stylistic experimentation to be accepted as “traditional,” while the symbiotic social practice of dancing necessitated relative conservatism. Analysis will show that “listening” tunes fell into the interstices of allowable innovation, while dance (particularly step-dance) tunes demanded certain “old style” techniques. A more holistic view of the complexities of the Cape Breton fiddling tradition follows from a perspective not only of the socio-musical elements that shaped the historical narrative, but also of the musical elements of this dance-oriented “old style.”

With the fear of decline of the Cape Breton fiddling tradition after the airing of The Vanishing Cape Breton Fiddler by the CBC in 1971, both the Cape Breton community and ethnographers clamored to preserve and maintain the extant practices and discourse. While this allowed for performance contexts and practices to burgeon, it also solidified certain perspectives about the “diasporic preservation” and resultant “authenticity.” This work aims to trace the seeds and developments of the beliefs surrounding the Cape Breton fiddling tradition, from the idealizations of Enlightenment Scotland to the manipulation and commercialization of the folklore and Celticism of twentieth-century Nova Scotia. These contexts romanticized older practices as “authentic,” a construct that deeply impacted the narrative about the Cape Breton fiddling tradition. One of the most rooted and complex concepts in this narrative is that of “old style,” a term that came to represent the idealized performance practice in post-1971 Cape Breton fiddling. As models were sought for younger players to emulate, pre-1971 “master” fiddlers with innovative stylistic approaches began to be identified as “old style” players. The interstices of the tradition allowed more extreme stylistic experimentation to be accepted as “traditional,” while the symbiotic social practice of dancing necessitated relative conservatism. Analysis will show that “listening” tunes fell into the interstices of allowable innovation, while dance (particularly step-dance) tunes demanded certain “old style” techniques. A more holistic view of the complexities of the Cape Breton fiddling tradition follows from a perspective not only of the socio-musical elements that shaped the historical narrative, but also of the musical elements of this dance-oriented “old style.” / Arts, Faculty of / Music, School of / Graduate

Made available in DSpace on 2016-07-27T13:49:43Z (GMT). No. of bitstreams: 1 JOSE JUSTINO PORTO.pdf: 16438385 bytes, checksum: b707822a31ab5549b943f60e3a92643c (MD5) Previous issue date: 2009-06-23 / This study is aimed to understand the role of Adventist missionaries at the Karajá communities located in the region of Santa Izabel, in the city of Lagoa da Confusão (TO). They reported major impacts on the culture Karajá in the environment in which these missionaries were, which nowadays expands to national culture. The Adventist Mission, like other religious missions, had non-conclusive and frustrating receptivities among the people living the banks of the Araguaia River. This is a bibliographic study about Araguaia people and the Adventists missionaries attempts among the Karajá communities between the periods 1980 to 2000. It was researched books, thesis, dissertations, articles and various publications about the historical actions among indigenous peoples and their Karajá cultures from the Araguaia region. The result of study shows that Adventists have faced challenges to the process of evangelization among Karajá. They had to deal with the cosmological views of the community and the intensification of the presence of Catholic and Protestant missionaries, these Pentecostals and Presbyterians, installed in Santa Izabel Hill, making even more complex the missionary attempt of IASD (Seventh Day Adventist Church). / O presente estudo teve por objetivo compreender a intervenção dos missionários adventistas na comunidade Karajá localizada na aldeia de Santa Izabel do Morro no Município de Lagoa da Confusão (TO). No ambiente em que os missionários estiveram eles relataram grandes impactos sobre a cultura dos Karajá e cuja difusão se estende sobre a cultura nacional. Trata-se de um estudo bibliográfico acerca dos povos do Araguaia e as tentativas missionárias dos adventistas entre as comunidades karajá nos períodos de 1980 a 2000. Pesquisaram-se livros, teses, dissertações, artigos e diversas publicações acerca das ações históricas entre os povos indígenas e sua cultura Karajá na região do rio Araguaia. O resultado do estudo mostra que os adventistas enfrentaram desafios para o processo de evangelização entre os Karajá. Esses tiveram que lidar com a visão cosmológica da comunidade e com a intensificação da presença dos missionários católicos, protestantes, pentecostais e presbiterianos, instalados em Santa Izabel do Morro, o que tornou ainda mais complexa a tentativa missionária da IASD (Igreja Adventista do Sétimo Dia). A missão adventista, assim como outras missões religiosas, tiveram sua receptividade não conclusiva e frustrante entre esse povo que vive às margens do Rio Araguaia.