The aim of this this diploma thesis is to explore the relationship between the art galleries and the public. The key focus is to analyze indispensable approaches galleries should employ in order to survive on the cultural market. Firstly, the thesis discusses the economic aspects with the particular focus on the value added to the management and marketing of galleries. The next part deals with the social aspects. In addition to the gallery visitors and the influence of gallery interior on the visitor, the division of art on commercial and non-commercial sphere is explored. Furthermore, the term "socially engaged art" will be specified. The final discussion then shows the previous research by presenting practical examples to illustrate the importance of the issue, particularly focusing on the Egon Schiele Art Center in Český Krumlov.

Este trabalho tem como objetivo a análise de uma tipologia - os pavilhões, dentro de um caso singular que são os Pavilhões de Verão da Galeria Serpentine em Londres. Para se entender tanto a tipologia como o próprio programa desenvolvido em Londres, essa pesquisa se valeu de levantamento bibliográfico sobre o tema e sobre os projetos da Serpentine, assim como visita a um dos pavilhões e a obras do arquiteto desse projeto, o chileno Smiljan Radíc. Como ponto de partida foi usado como referência o autor Moisés Puente e o livro \"100 anos de pavilhões de exposição\", e na sequência, publicações sobre história da arquitetura e monografias sobre alguns arquitetos. Sobre a Galeria Serpentine, a pesquisa teve início com a publicação comemorativa aos dez anos do evento: \"Serpentine Gallery Pavilions\", do autor Philip Jodidio, assim como publicações sobre cada pavilhão. Por fim, foram levantadas as publicações monográficas sobre o arquiteto Smiljan Radíc, assim como sobre o pavilhão de 2014. Com isso, foi possível traçar um panorama sobre esses edifícios na história, e também reconhecer algumas das obras emblemáticas para a disciplina da arquitetura, e a partir daí, analisar as propostas que vem sendo desenvolvidas desde o ano 2000 por essa galeria de arte. Dessa forma, o pavilhão visitado em 2014 é apresentado juntamente com a obra do seu autor em uma investigação sobre o campo ensaístico desse arquiteto, campo esse também verificado na análise de alguns dos pavilhões mais significativos da história. / This paper aims to provide analysis of a typology - the pavilions, more specifically the case of the Serpentine Gallery Summer Pavilions in London. In favor of comprehending the typology as well as the developed program in London, this research was based on a selected bibliographical survey on the subject-matter and other Serpentine Gallery projects, additionally to a visit to one of the pavilions and other works by the same architect, the Chilean Smiljan Radíc. It has been used, as starting point, the reference of the author Moisés Puente and his book \"100 anos de pavilhões de exposição\", subsequent to publications on architecture history and monographs by other architects. Regarding the Serpentine Gallery, the research began with the 10-year commemorative publication of the event: \"Serpentine Gallery Pavilions\", from author Philip Jodidio, along with other publications about each pavilion. Lastly, monograph publications were gathered on the architect Smiljan Radíc, as well as on the 2014 pavilion. Therefore, it was possible to draw a panorama on these buildings throughout history, likewise some of its emblematic works for the discipline of architecture, and ther after, analyse the propositions that have been made by this gallery since the 2000s. As a result, the pavilion visited in 2014 is presented along with the author\'s work in an examination of the rehearsal field of the architect, the same field is further analysed in some of the most significant pavilions in history.

Projetado no início da década de 50 do século XX por Oscar Niemeyer o edifício COPAN surgiu num momento de profundas transformações em São Paulo. A economia da capital paulistana se fortalecia aquecendo o mercado imobiliário e ocasionando uma verdadeira ?febre construtiva? na cidade. Maior edifício residencial da América Latina, com 116.152m² de área construída, o COPAN, situado no centro de São Paulo, era um monumento aos novos paradigmas adotados nos anos 50 na cidade: gigantismo, verticalização, adensamento populacional, dentre outros. Utilizando-se dos métodos e das técnicas da Avaliação Pós-Ocupação (APO), esta dissertação tem como objetivo aferir o desempenho do edifício nas questões de conforto ambiental, desempenho funcional dos apartamentos e das áreas comuns, acessibilidade para pessoas com dificuldades de locomoção e visão e segurança contra incêndio, tanto do ponto de vista dos especialistas, bem como do ponto de vista dos usuários. Com base em diagnósticos elaborados para cada item pesquisado, são feitas recomendações, sempre que possível, visando atender às exigências atuais de desempenho constantes em Normas, as determinações de Código de Obras, além de proposições voltadas à melhoria da qualidade de vida neste edifício, sempre que pertinente. A pesquisa inclui ainda, para fundamentar os diagnósticos e as recomendações da APO, um estudo voltado à compreensão da gestão do processo de projeto, desde sua concepção. / Designed by Oscar Niemeyer in the early 1950s, the Copan Building in Downtown São Paulo, Brazil, was erected during a period when sweeping changes were taking place in the city. The local economy was strengthened by the growing real-estate market and was bringing about a veritable \"rage of construction.\" The Copan is the tallest residential building in Latin America, having 116,152m² of constructed area, and it was a monument to the new architectural paradigms being adopted in São Paulo in the 1950s, including gigantism, verticalization and demographic densification. Using methods and techniques of the Post Occupancy Evaluation (POE), this dissertation is aimed at appraising the building\'s performance in the areas of environmental comfort, functional performance of the apartments and common areas, access for persons with difficulties in locomotion and sight, and fire safety, all from the points of view of both specialists and users. Whenever possible and pertinent, and based on the diagnoses drawn up, recommendations are made for each item geared to the demands expressed in today\'s laws and regulations, including the São Paulo Building Code. Proposals are also presented for improving the quality of living in this building. To back up the diagnoses and recommendations in the POE, the dissertation also includes a study aimed at obtaining a better understanding of the management of the designing process, right from its very conception.

Research suggests that social prescribing schemes can offer health and psychological wellbeing benefits to older people across a range of interventions. The present study sought to understand how museum programmes, designed to support socially isolated older adults, created opportunities to enhance wellbeing and change experiences of social isolation. A grounded theory approach was used to analyse initial interviews, 3-month follow-up interviews, and participant diaries, from 12 participants who took part in 10-week programmes across six different museums in London and Kent. A theoretical model was developed showing elements of museum programmes, such as the role of the facilitator, activities and physical space, that enabled both individual journeys and relational processes. In addition, individual journeys and relational processes influenced each other, enhancing the experience. These components operated within an interacting social context that was enriched by the museum programme. The theoretical model links with psychological concepts of attachment theory and self-esteem to explain how cultural group programmes could provide opportunities for change in older people. Limitations of the research, implications for clinical practice and recommendations for future research are discussed.

FundaÃÃo Cearense de Apoio ao Desenvolvimento Cientifico e TecnolÃgico / Volumes considerÃveis de esgoto domÃstico e efluentes industriais, sem tratamento, sÃo lanÃados nos oceanos causando a contaminaÃÃo dos ecossistemas aquÃticos e colocando em risco a saÃde pÃblica e ambiental. O presente estudo teve por objetivo investigar a presenÃa de metais-traÃo, fosfato, coliformes termotolerantes e Escherichia coli em Ãgua e sedimento de galerias pluviais de Fortaleza que, freqÃentemente, encontram-se contaminadas por esgoto domÃstico, buscando representatividade das medidas de balneabilidade nas praias de Fortaleza. As anÃlises de Cu e Pb foram realizadas por espectrofotometria de absorÃÃo atÃmica pelas tÃcnicas de forno de grafite e chama para as medidas em Ãgua e sedimento, respectivamente. Para a detecÃÃo do Hg em Ãgua foi usada a espectrofotometria de fluorescÃncia com tÃcnica de geraÃÃo de vapor frio e em sedimento a espectrofotometria de absorÃÃo atÃmica utilizando a tÃcnica de vapor frio. O fosfato foi medido por espectrofotometria de absorÃÃo molecular na regiÃo do visÃvel. Nas anÃlises microbiolÃgicas empregou-se a tÃcnica dos tubos mÃltiplos. Os resultados obtidos para coliformes termotolerantes variaram na Ãgua de 1,3 x103 a 1,6 x 108 NMP/100mL e no sedimento de 0,3 x 10 a 1,0 x 106 NMP/g. Os valores de E. coli em Ãgua variaram de 0,3 x 10 a 9,2 x 107 NMP/100mL e no sedimento de 0,3 x 10 a 4,6 x 104 NMP/g. As concentraÃÃes de metais-traÃo na Ãgua variaram de 0,36 a 16,34 &#956;g.L-1 para Cu, 0,08 a 3,71 &#956;g.L-1 para Pb e 1,1 a 150,4 ng.L-1 para Hg. Nas anÃlises de sedimento as variaÃÃes foram de 0,23 a 9,64 &#956;g.g-1 para Cu, 1,41 a 21,73 &#956;g.g-1 para Pb e 0,7 a 21,4 ng.g -1 para Hg. Os teores de fosfato na Ãgua variaram de <0,01 a 1,32 mg.L-1 e no sedimento de 1,12 a 13,39 &#956;g.g-1. Os resultados mostraram que a contaminaÃÃo das Ãguas pluviais drenadas para orla de Fortaleza à constante e elevada para coliformes termotolerantes, E. coli e fosfato, com correlaÃÃes estatÃsticas significativas (p=0,05) entre esses parÃmetros. No entanto, os dados obtidos de metais-traÃo se mostraram pouco eficientes para determinaÃÃo da balneabilidade. / Considerable volumes of domestic and industrial effluent sewage, without treatment, are released in the oceans having caused the contamination of aquatic ecosystems and placing at risk the public and ambient health. The aim of this study was to investigate the presence of trace metals, phosphate, thermotolerant coliforms and Escherichia coli in water and sediment of storm sewers of Fortaleza, frequently, contaminated by domestic sewage, thus decreasing the environmental quality and balneability in Fortalezaâs beaches. The analyses of Cu and Pb in the water and sediment were perfomed by atomic absorption espectrophotometry, graphite furnace and flame techniques, respectively. To evaluate the concentration of Hg in water, cold vapor fluorescence espectrophotometry were used and cold vapor atomic absorption espectrophotometry was used for sediment. In the microbiological analyses a multiple tubes assay was used. Phosphate was measured by molecular absorption espectrophotometry. The results for thermotolerant coliforms varied in water from 1.3 x103 to 1.6 x 108 NMP/100mL and in sediment from 0.3 x 10 to 1.0 x 106 NMP/g. The values of E. coli in water varied between 0.3 x 10 to 9.2 x 107 NMP/100mL and in sediment from 0.3 x 10 to 4.6 x 104 NMP/g. Trace metal concentrations in water varied between 0.36 to 16.34 &#956;g.L-1 for Cu, 0.08 to 3.71 &#956;g.L-1 for Pb and 1.1 to 150.4 ng.L-1 for Hg. In sediment they varied between 0.23 to 9.64 &#956;g.g-1 for Cu, 1.41 to 21.73 &#956;g.g-1 for Pb and 0.7 a 21.4 ng.g-1 for Hg. Phosphate concentrations in the water varied between 0,01 to 1.32 mg.L-1 and in sediment from 1.12 to 13.39 &#956;g.g-1. The results had shown a constant and high contamination of drained pluvial waters of Fortalezaâs coast by thermotolerant coliforms, E. coli and phosphate, with correlate statistical signification (p=0.05). However, the results of trace metal had showed poor efficiency as balneability parameters.

Projetado no início da década de 50 do século XX por Oscar Niemeyer o edifício COPAN surgiu num momento de profundas transformações em São Paulo. A economia da capital paulistana se fortalecia aquecendo o mercado imobiliário e ocasionando uma verdadeira ?febre construtiva? na cidade. Maior edifício residencial da América Latina, com 116.152m² de área construída, o COPAN, situado no centro de São Paulo, era um monumento aos novos paradigmas adotados nos anos 50 na cidade: gigantismo, verticalização, adensamento populacional, dentre outros. Utilizando-se dos métodos e das técnicas da Avaliação Pós-Ocupação (APO), esta dissertação tem como objetivo aferir o desempenho do edifício nas questões de conforto ambiental, desempenho funcional dos apartamentos e das áreas comuns, acessibilidade para pessoas com dificuldades de locomoção e visão e segurança contra incêndio, tanto do ponto de vista dos especialistas, bem como do ponto de vista dos usuários. Com base em diagnósticos elaborados para cada item pesquisado, são feitas recomendações, sempre que possível, visando atender às exigências atuais de desempenho constantes em Normas, as determinações de Código de Obras, além de proposições voltadas à melhoria da qualidade de vida neste edifício, sempre que pertinente. A pesquisa inclui ainda, para fundamentar os diagnósticos e as recomendações da APO, um estudo voltado à compreensão da gestão do processo de projeto, desde sua concepção. / Designed by Oscar Niemeyer in the early 1950s, the Copan Building in Downtown São Paulo, Brazil, was erected during a period when sweeping changes were taking place in the city. The local economy was strengthened by the growing real-estate market and was bringing about a veritable \"rage of construction.\" The Copan is the tallest residential building in Latin America, having 116,152m² of constructed area, and it was a monument to the new architectural paradigms being adopted in São Paulo in the 1950s, including gigantism, verticalization and demographic densification. Using methods and techniques of the Post Occupancy Evaluation (POE), this dissertation is aimed at appraising the building\'s performance in the areas of environmental comfort, functional performance of the apartments and common areas, access for persons with difficulties in locomotion and sight, and fire safety, all from the points of view of both specialists and users. Whenever possible and pertinent, and based on the diagnoses drawn up, recommendations are made for each item geared to the demands expressed in today\'s laws and regulations, including the São Paulo Building Code. Proposals are also presented for improving the quality of living in this building. To back up the diagnoses and recommendations in the POE, the dissertation also includes a study aimed at obtaining a better understanding of the management of the designing process, right from its very conception.

This dissertation is wrapped up in a comparison of book and museum, which raises questions about the visual technology of the printed page itself: a black and white space. Articles and histories on paper production of the nineteenth century stress the necessity of bleaching wood pulp or rags in order to produce “beautiful,” “polished,” “virginal,” “clean” white paper. Bleaching paper to create a normalized, aestheticized whiteness, upon which to craft the cultural capital of the book, largely anticipates the later use of whiteness in the modern art gallery, where whiteness becomes a “neutral” or “objective” or “normal” color upon which to hang visual art or print words. In certain contexts, especially during Reconstruction and later during the Harlem Renaissance, authors saw the black and white contrast of the printed page as a symbol of racial segregation—whiteness and blackness following strictly ordered patterns. This dissertation thus investigates the shifting symbolism of black text on a white visual field between 1880 and 1940. Several of the subjects of my dissertation have been largely overlooked by critics, (Celia Thaxter, Simon Pokagon, Melvin Tolson), although previous studies have examined the way books of modernist poetry become display spaces—the white space of each page like a wall or frame which affords the lyric poem similar attention to modernist visual art, and imitating styles of display made famous by Alfred Stieglitz in his galleries. Poets thus become curators as well as authors. My dissertation expands these studies to include works written before the modernist period (Thaxter and Pokagon), and after it (William Carlos Williams, E. E. Cummings, and Tolson), as well as analyze alternate material technologies of book production that vastly impact the visual experience of reading. Moreover, I also consider the political reasons for these material changes to the book, including racial representation, so that my work simultaneously explores both the aesthetics and politics of printed text.

The PhD thesis evaluates the mechanical properties and damage tolerance of aerospace carbon/epoxy laminates containing long, narrow interlaminar galleries. The term 'galleries' refers to thin and long holes in a laminate used for the installation of small measuring devices, such as structural health monitoring (SHM) sensors. The galleries considered in this study are similar to those used in a novel SHM system known as 'Comparative Vacuum Monitoring (CVM)'. CVM was developed by the Australian company - Structural Monitoring Systems (SMS) - for damage detection in aircraft structures. CVM is a SHM system that utilises pressure differentials between a parallel series of galleries at atmospheric or low pressure to detect damage initiation and propagation. Thus far, CVM has been used for the monitoring of surface cracks in metallic structures using surface mounted sensors. Recent research has also demonstrated that it may be possible to monitor damage along the bond- line of both metallic and composite joints using CVM. The ability of CVM sensors to detect delamination damage inside composite structures is less well understood. It is envisaged that CVM can be used for the through-life health monitoring of composite aircraft structures prone to delamination damage. However, a major concern with applying CVM to composite laminates is the open-hole design of the galleries that may initiate damage growth under external loading. Material property data, structural tests, and models for predicting the properties of laminates containing galleries is needed before CVM technology can be certified for use in aircraft composite structures. The primary objectives of this PhD thesis are the development of an optimum process method for introducing multiple interlaminar CVM galleries in composite laminates; the development of a validated model for calculating changes to the mechanical properties of laminates containing CVM galleries; and the determination of optimum CVM gallery shape, size and orientation combinations for minimising the effect of the galleries on the mechanical properties of laminates. The effects of the shape, size and orientation of CVM galleries on the mechanical properties of carbon/epoxy laminates are evaluated by an extensive experimental research program, and the results are presented in the thesis. The properties investigated include the in-plane tensile and compressive properties, tensile and compressive fatigue life, through-thickness tensile strength, interlaminar shear strength, mode I and mode II interlaminar fracture toughness, and impact damage resistance. The results from tensile tests on lap-joints and T-joints containing CVM galleries are also presented.

This thesis discusses some aspects of the exhibition designer's role in state museums and galleries. It draws on the author's experiences in Singapore and his observations as a student living in Sydney. Museum exhibition designers are servants of the state. They help create public culture and promote a version of history. But if one is to understand the ways in which designers create meaning (and serve their employer's interests) we need to identify the 'vocabulary' and 'grammar' that they have at their disposal. To this end, the thesis outlines the variables that they work with and argues that they need to understand their employer's ideologies and history. The design vocabulary and grammar that the exhibition designer works with to create meaning in bridging understanding needs to be commensurate with the knowledge of history and the primary ideologies of the state which he/she serves. Singapore's recent interest in arts and heritage museums as part of a larger desire for regional economic and cultural survival and pre-eminence needs to be identified with the evolution, interconnectedness and ambitions of Singapore's arts and cultural organisations. In conjunction, some of the implications of Singapore's Arts and Heritage Policy need to be unpacked. A brief but concise comparative history of Sydney, Australia is made for the arts, cultural and museum comparison between Australia and Singapore. The exhibition designer's vocabulary and grammar can then be used to evaluate four exhibitions in Sydney and Singapore. This dissertation addresses the issues of 'Asian-ness' , modernisation without westernisation and the state's desire to meet the challenges which global communication systems place upon Singapore citizen's welfare. The dissertation is very art focused. It discusses all display objects as though they were paintings and works of fine art / Master of Arts (Hons)

This thesis examines the reputation the 1970s have as a renaissance era for New Zealand public art galleries.It does this by considering the formation and development of galleries in the period as well as their approaches. Public and community involvement, energy, innovation, activism, and engagement with contemporary New Zealand art are key areas of approach investigated since increases in each are associated with galleries in the seventies.The notion of a renaissance is also particularly associated with provincial galleries. In order to examine this idea in detail three "provincial" galleries are taken as case studies. They are the (then named) Dowse Art Gallery, Govett-Brewster Art Gallery and Manawatu Art Gallery.The seventies are revealed as a "culture change" era for public art galleries in New Zealand. New ones were founded, many were rebuilt or substantially altered, and there was a shift from the rule of the amateur to that of the professional. The majority of existing galleries went from being static institutions with few staff, neglected collections, and unchanging exhibitions, to become much more publicly oriented and professionally run operations. Moreover, while change occurred across nearly all institutions, it tended to be led from the provinces.Several reasons are suggested for the forward-looking nature of the three case study galleries. One is that they reflected the energy and flexibility that goes with new, small organisations. Another is that all three existed in cities with little appreciation of art and culture and so had to strenuously prove themselves to gain community acceptance and civic support.Other galleries, particularly the metropolitans, are shown to have followed the lead of the progressive focus institutions. Influencing factors on changes in all New Zealand galleries are therefore also sought. They include the growth in new, well educated, sophisticated, and internationally-aware audiences; greater production and public awareness of New Zealand art; interest in exploring a New Zealand identity; world-wide revolutionary social changes in the '60s and '70s; and increased government funding for building projects.The changes that took place in New Zealand art galleries in the 1970s are shown to sit within the wider contexts of increasing trends towards public orientation by museums internationally, both before and during the decade, and in New Zealand since the seventies. However, the very notion of public orientation is also suggested to be historically relative and, ultimately, politically driven.