The design of an experimental interdisciplinary design lab–MOB 2030–within a waterfront building in Richmond, Virginia, provides an opportunity for designers to find infinite inspirations. The tools of interior design are used to manipulate a wide range of functional and formal elements to define designers’ relationship to space, work and nature. The final project provides three studios, three galleries, rooftop and waterfront landscapes, and collaboration steps connect other spaces together.

The following report is the analysis of a three-month internship within this organization, and will discuss topics as they relate to the cuniculum of the Arts Administration degree. The for-profit nature of this internship and its completion within a small-scale structure presented me with several not-so-clearly delineated tasks. In order to properly introduce the topics associated with the responsibilities of the assignment at Arthur Roger Gallery, the reader must first become familiar with the nature of the business, and its management structure. Chapter II is exclusively devoted to the purpose of the internship. By considering the role of the intern, who acted in the role of an assistant to the staff, this section will outline the importance of compiling an inventory, and the necessity of maintaining the gallery's website in the most accurate manner. The third chapter of the present report is an attempt to identify the reasons that separate the Arthur Roger Gallery from its competitors. This section will address several elements discussed through our cuniculum, particularly during the Visual Art and Marketing classes. Broadly speaking, it will show that Arthur Roger has fully understood the "who, what, where, why, when and how" of selling fine art in his market area. The final section of the discussion will involve several points dealing principally with management and technical concerns, for the most part related to the growing activity of the business and its recent evolutions.

Stella Jones Gallery: An Organizational Analysis and Suggested Marketing Plan is based on my internship as Managing Director of Stella Jones Gallery. The internship report will focus on 1. Analyzing the organizational structure and cultures of Stella Jones Gallery as it relates to the internship and 2. Creating a marketing plan to support, expose, and expand the mission of the organization. Because of the report's objectives, the internship report has been segmented into the following sections: Part I: Organizational Analysis Stella Jones Gallery's organizational structure and culture will be analyzed to determine the effectiveness and efficiency of its methods and practices. Through the analysis, a description and evaluation of my internship as Managing Director will be provided to discuss the overall effectiveness of the position. It will also discuss the position's contribution to the strengths and weaknesses of the organization. This section will be immediately followed by suggestions in management and staffing as well as ways in which the organization can redefine and strengthen its organizational culture. Part II: Suggested Marketing Plan At the time of the internship, Stella Jones Gallery had been in existence for three and a half years and is emerging as one of the leading African-American galleries in the southeast region of the United States. The gallery has been very fortunate to have reviews in highly regarded magazines such as Art Business News, Art and Antiques, and the International Review of African-American Art. It has not, however, established a strategic marketing plan to propel the gallery to the forefront of the commercial arts industry. The marketing plan created will suggest ways the gallery can capitalize on the medial attention it has received. Secondly, it will illustrate how the gallery can promote and establish its product within the commercial arts industry and non-profit sector of the visual arts. Finally, it offers ways in which the gallery can forge ahead of its competition by offering on-line as well as curatorial and educational services. The issues addressed and suggestions made are to help Stella Jones Gallery reach its potential as a leading art organization. In conclusion, this report will note any changes or improvements made in the gallery's management practices, staff, and marketing strategies as a result of the suggestions offered.

For cavity quantum electrodynamics systems (cavity-QED) to play a role in quantum information processing applications and in quantum networks, they must be robust and scalable in addition to having a suitable method for the generation, processing and storage of quantum bits. One solution is to develop a composite system that couples a nitrogen vacancy (NV) center in diamond to a whispering gallery mode supported by a fused silica microsphere. Such a system is motivated by the optical and electron-spin properties of the NV center. The NV center is the leading spin-qubit and exhibits atomic like linewidths at cryogenic temperatures and has spin coherence times greater than milliseconds at room temperature. These long coherence times, coupled with nanosecond scale spin readout and manipulation times, allow for millions of quantum operations to be processed. Silica whispering gallery resonators are the only class of microresonators with quality factor high enough to reach the strong coupling regime, which is necessary for some quantum information processing applications. Integrating these two components into a system that could position a diamond nanopillar near the surface of a deformed-double stemmed microsphere system, with nanometer precision, at 10 K was a major achievement of this research. Cavity resonances in deformed microspheres can be excited with a free-space coupling technique which simplifies their integration into cryogenic environments. In these intentionally deformed resonators, an enhanced evanescent field decay length was observed at specific locations along the ray orbit. The double-stem arrangement enables the cavity resonance to be tuned over 450 GHz, with sub-10 MHz resolution, at 10 K. These two features, the enhanced decay length and broad range tuning with high resolution, are indispensible tools for cavity-QED studies with silica microspheres. Diamond nanopillars were fabricated from single crystal diamond with diameters as small as 140 nm in order to maintain a high quality factor. Studies were conducted on NV centers in nanopillars and bulk diamond to determine their suitability for cavity-QED applications. In an attempt to increase the light-matter interaction between NV centers and whispering gallery modes, diamond substrates were optically characterized that were irradiated with nitrogen ions.

Review of Art Museum Image Gallery. H.W. Wilson. 2005.

This dissertation explores the primary sites of collecting and display commissioned by Francesco I de' Medici, Grand Duke of Tuscany (r. 1564-87). These sites ─ Francesco's studiolo in the Palazzo Vecchio and the nearby Uffizi Gallery ─ established precedents for the physical layout of newly emerging museums in early modern Europe, as scholars have suggested. But, as this dissertation asserts, Francesco's communication of authority through these sites significantly contributed to the changing expectations in the 16th century of a ruler's proper engagement with culture. Displaying objects connoting knowledge, taste, and wealth, these sites demonstrated Francesco's privileged access to such objects and his mastery over the scientific processes involved in their creation. Emphasizing the prince's knowledge, this approach contrasted with earlier rulers' reliance on images of direct military power and laid the groundwork for the merging of personal and private space that would come to characterize the full expression of absolutism across Europe. Chapter One examines the multi-faceted assertions of authority in Francesco's portraits, a strategy reflecting his embrace of images and spaces to communicate personal and political identity. Chapter Two addresses his private studiolo, which represented Francesco's participation in scientific, contemplative, and collecting activities among ruling elites. Chapter Three examines the subtle but profound shift in the meaning of the collection when, in 1583, Francesco created the Galleria degli Uffizi, a significant contribution in the history of European museums. Established independent of the prince's residence, the new museum represented Francesco's most powerful expression of cultural politics, as dignitaries visited the impressively decorated gallery and experienced first-hand its political assertions. The dissertation concludes by examining the impact of Francesco's museological precedents on other Italian rulers. Sites in Florence and Mantua demonstrate the continued attractiveness of Francesco's cultural expressions of authority to 17th-century rulers, as new expectations of a ruler's engagement with the arts emerge. Princely galleries become an increasingly common demonstration of authority, with many examples emulating the Uffizi's design. The conclusion affirms Francesco's legacy in binding the demonstration of artistic and scientific knowledge to political authority in the early Seicento.

A powerful dimension of culture is revealed through art; and when presented by the artist to the observer discloses and connects human emotions. The artist's expression is recorded as an integral part of a collective heritage while continually inspiring the viewer towards a creative future. For the Mississippi Coast, this is an imperative time to develop the link between community and tourism. Over forty public establishments are without buildings that enable them to come together. Prior to August 2005, the development pattern of the coast was northward, because the historic coast line was occupied. Now the entire beach front is vacant leaving opportunities for developers of casinos, condominiums, and resorts. While the Gulf Coast benefits economically from tourism, the community needs to integrate this commerce into the historic heritage center of the region. Conserving the spirit of the Gulf Coast can be accomplished through the delicate balancing of tourism and cultural preservation. The diverse visitors tourism brings to the coast blend with the local population to induce a unified appreciation of the culture. The coast has a strong history of converging groups of people. This has led to multifaceted merging of backgrounds which generate new customs and experiences. These convergences make the coast a unique location. They define the culture of the past and they also develop the makeup of the future. The social integration of visitors and hosts will require a place for conversation, and the manifestation of heritage. By creating a public arts complex which houses spaces for visual, and performance arts; the community will have a place to showcase their culture while producing integral opportunities for visitors to experience the Gulf Coast's heritage. This center will also provide local artists with work and display spaces. Determining the specific spaces the community needs will require investigation of existing public use buildings. Historic research, inquires and observations help place the project within the current influences of time, place, and people. The establishment of this arts center provides local residents and tourists with a place to assemble while reiterating the social, ethnic, and cultural community that is the Gulf Coast.

This thesis examines the relationship between art gallery postcards, subjectivities and domestic spaces. Feminist post-structuralist debates on memory, subjectivity and domestic spaces provide the theoretical framework for this research into taken-for-granted objects of the everyday. Empirical data came from interviewing nine women who buy, use and keep postcards and two New Zealand Art Gallery store managers. Some of the participants were interviewed more than once, while others extended their views by e-mail. Auto-ethnographic narrative is used to explore further the symbolic significance of an individual's postcard consumption. This research focuses attention on the production of gendered subjectivities and domestic spaces through an aesthetic artefact. There are three points to my analysis. Firstly, I argue paradoxically the under-noticed seemingly trivial gallery postcard becomes a memory holder and therefore a significant artefact of symbolic value. Memories are potent, elusive fragments that become attached to a sound, smell, touch or sight. Catching sight of a postcard can trigger a chain of memory associations, which in turn constructs a sense of self through the remembering. Secondly, I contend that subjectivity is understood as fluid and multiple, evolving out of experience and interpretation. Memories formed from experience and connections made with people, place and things become associated with gallery postcards and serve as a catalyst for personal narratives which in turn can operate as tools for constructing subjectivities. Finally I suggest that domestic spaces are a product of relations that can be understood as existing within and beyond the home. Stretched domestic space can be produced by the display of gallery postcards in office spaces. The exploration of the art gallery postcard adds to the knowledges of everyday objects and their role and significance in constructing gendered subjectivities and spaces.

As a part of the Tourist Information Provider (TIP) system, this project focuses on creating a photo gallery service in the TIP system, which allows users to share, browse and categorize their photos. The core of this project is to provide users a location-based photo browsing. The system provides photos which are taken in the current user's location. We considered privacy control on photos that users uploaded. A photo owner is able to sign an access level to each of their photos and permit different users to access them. We also considered reusing resources. The system allows a user to use an URL of a photo in the system in stead of uploading the photo from the local computer. The system also provides a URL of each photo in order to use the photo on other web places, e.g., Blogs. We use tags and photo metadata Eixf to categorize photos.

The thesis describes the development during the 1990s of visual artists' utilisation of computer-based interactive multimedia and the production internationally, with a focus on Australian artists, of artworks on the CD-ROM media format. Earlier parts of the author's research led to the exhibition, 'Burning the Interface &lt International Artists' CD-ROM&gt', which he co-curated, opening at the Museum of Contemporary Art, Sydney, in 1996, before touring to Perth, Brisbane, Melbourne and Adelaide. The thesis surveys the range of practice by artists working with digital media and the opportunities for exhibition in the public spaces of museums, galleries and the street, and advances scenarios for correcting the laxity of response by the exhibiting institutions to the vigour with which Australian artists represented their work and ideas at this time in national and international forums. Four published artists' work on CDROM are analysed in detail, and a concluding chapter about 'interactive multimedia' and its usefulness as an art medium to the artist introduces the studio practice component of this MFA submission. This takes the form of a prototype 'experimental' version of an interactive multimedia work on CD-ROM, ('Strangers on the Land') a copy of which is contained in a pocket at the rear of the bound version.