Historic buildings live a double life between climate-adapted largely-passive structures and draughty, poorly-maintained ones. Preservation professionals argue that preserving these structures is more resource effective than constructing new buildings, and that pre-electricity structures were built to take advantage of climate and geography, using passive technologies to perform efficiently. Modern technologies have also been adopted- electrical lights, air conditioning, fire alarms - as a natural progression of inhabitation. Yet in historic house museums, there is still the promise of historic representation, one unmarred by ‘inauthentic’ additions. If modern and past technological changes have been accepted and integrated, how is the historic house museum not a ‘living building culture’? And if house museums are indeed a living building culture, why not allow a more flexible representation of our historic properties if they are interpreted with integrity and honesty? The EPA estimates that buildings represent 65% of the U.S. electricity use, and predictions estimate 80% of the 2030 building stock exists today. If we truly plan to reduce our energy consumption, we must confront the reality that existing buildings are a significant contributor to our output. If, as curators, it is our hope for historic buildings to represent preservation, then we must admit that in preserving the past for the future, we must begin by preserving our future. This thesis analyses the opportunities and risks for historic house museums to respect their historic interpretation but adapt to changing conditions. Examples of energy efficiency strategies both historic and current, will be examined in historic structures, illustrating that caretakers of historic buildings are making value judgments about the future of their property, in terms of environmental, fiscal and historical sustainability. This thesis includes the analysis of a case study historic house museum in Austin, Texas, the French Legation Museum, which is used as a base model for estimating energy efficiency gains from the adoption of some low-energy technologies. Calculations based on this information indicate which integrations and additions could offer the greatest return on investment for this historic building to operate as or more efficiently than a modern code construction without visible or egregious alteration to the historic fabric. / text

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While scholarship in recent decades has begun investigating women's history, museums and historical sites have been slower to do so. Although house museums are more open to interpreting women's history, the histories present often remain limited to the family and the house. In this thesis, I argue that by exploring local archival collections for women's voices, house museums can improve their presentation of women's history. Specifically, I investigate connecting nursing history to upper middle class lifestyles through the Chew family at Cliveden, historical house museum. This paper begins by exploring three local Germantown sites to analyze how women are currently presented on the house tour. Next, I investigate the letters and records of two Chew women, Anne Sophia Penn Chew and Mary Johnson Brown Chew for health concerns, care giving, and the presence of hired nurses. I then explore early nursing training programs at collections housed at the Barbara Bates Center for the Study of the History of Nursing. Using the records of nursing training programs, including the Woman's Hospital, Presbyterian Hospital, and the Visiting Nurse Society of Philadelphia, connections are made between the new trend for educated nurses and upper middle class women and lifestyle, specifically the Chews. Based on my findings, I then propose a method to interpret nursing history on the current house tour at Cliveden. For sources, I especially rely on the documents of the Chew family housed the Historical Society of Pennsylvania. I also draw heavily on the various nursing program records at the Bates Center. / History

Although a sizable subcategory of the nonprofit museum sector, historic house museums have received limited attention in discussions of best practices, most notably in topics of administration, funding, and risk management. Historic house museums serve as a cornerstone of American and international cultural tourism for their accessibility and low, or free, attendance costs. This research argues for historic house museum operations, rather than its period of restorative preservation, as the focus of inquiry. The subjects of this research are three sites that were the products of late nineteenth-century industrialization in the American Midwest, a region under-studied in current literature. Past scholarship on historic houses has been dedicated to preservation methodology and interpretation. No study of house museums attends to business and legal concerns as well as architectural history and preservation. Utilizing archives, interviews, and financial documents in the analysis of three case studies, I argue that historic house museums provide an illuminating lens onto issues of professional practice facing museums in the twenty-first century. This dissertation focuses on three historic house museums constructed after the 1876 Centennial and before the turn of the twentieth century. Chapter One offers the history of the Pabst Mansion in Milwaukee, a German Renaissance Revival structure built in 1892 for brewing magnate Captain Frederick Pabst, and provides a discussion of community funding and post-recession heritage tourism. Chapter Two details the story of the Driehaus Museum in Chicago, a Renaissance Revival mansion built in 1883 for banker Samuel Nickerson and now funded primarily by investor Richard Driehaus. This chapter illuminates the issues of single-donor funding, the problematization of definitions of the historic house museum, and modern development of private art collections. Chapter Three is dedicated to the Samuel Cupples House in St. Louis, a Richardsonian Romanesque residence constructed in 1890 for manufacturing magnate Samuel Cupples and now owned by Saint Louis University, and delves into topics of institutional stewardship and university management of cultural resources. The conclusion proposes a diversification of scholarship concerning historic house museums that embraces financial management to ensure operational sustainability.

Historic house museums have been the subject of very little structured research. As ideal learning environments for young children they have the potential to facilitate very special educational interactions, yet children's experiences in house museums remain relatively unexplored, with very little professional analysis of the nature, the value or the impact of school visits. As museums, historic houses are educational institutions, yet with limited professional expertise and restricted resources as commonplace, many house museums provide very little in the way of structured educational experiences for schools. This study aims to increase our understanding of educational encounters in house museums. Using Falk and Dierking's Interactive Experience Model this thesis explores the personal, physical and social contexts of young children's visits to house museums. It follows the progress of children aged 5-8 years, as they participate in class visits to two very different kinds of house museum. A structured, age-appropriate education program implemented at Calthorpes' House is compared to the approach taken at Blundells' Cottage, where a lack of resources and professional expertise has resulted in unstructured school visits, typical of amateur house museums throughout Australia. The study directly compares these structured and non-structured museum visits to determine the immediate and long term value of constructed learning experiences in historic houses. The thesis concludes that the structure of a school visit has a significant influence on the museum experience. Research revealed that structured education programs prepare children better for their visit, allow for more successful interactive experiences on site, encourage enjoyable social interactions and result in more detailed museum memories. Finally this thesis outlines implications for house museums as a result of this research and makes recommendations to assist under-resourced house museums provide more structured, more informed educational interactions for schools.

This study is an attempt to examine the literary house-museums located in istanbul. In the chronological order of their transformations from houses into museums, these are Tevfik Fikret house-museum in ASiyan, Rumelihisari (1945), Sait Faik Abasiyanik house-museum in Burgazada (1964), and H&uuml / seyin Rahmi G&uuml / rpinar house-museum in Heybeliada (2000). By pointing out their ambiguous position between privacy and publicity, this research seeks to juxtapose the uses of these museums as houses in the past with the uses of these houses as museums in the present. While doing that, it aims to read their spatial stories/histories by focusing not only on the writers/inhabitants of the houses and the owners/organizers of the museums, but also on the guests/visitors of these house-museums.

The study conducted was An Appreciative Inquiry approach into the post-merger Campbell Collections at UKZN. The study was meant to explore and discover the value of the Campbell Collections in the new merged institution, which is the University of KwaZulu- Natal. The study was appreciative in nature, and it took the complete interconnected elements that affect the system into consideration. Every year since 2004, when the University of Natal and the University of Durban Westville were officially declared as merged, there have been various changes that took place. The merger is one huge change project that the universities engaged in. Thus the concepts ‘merger’ and ‘change’ were used inter-changeably in the study. The background on the merger was brought into perspective, and an in-depth literature review on Appreciative Inquiry was conducted. Appreciative Inquiry (AI) introduced to the study a research perspective that was very different in focus from more traditional approaches. AI is a highly participative, systemwide approach that seeks to identify and enhance the life-giving forces. It concentrates on things we want to increase to add value, and it is a radical approach to understanding the social world. It concentrates on exploring ideas that people have about what is valuable in what they do and then tries to work out ways in which this can be built on. The emphasis is strong on appreciating the activities and responses of people, rather than focusing on their problems. Appreciative Inquiry is declared to be a strong pillar of research which looks to build a productive link between people and the substance of what they talk about as past and present capacities. In general AI studies are carried out through the use of 4-D Cycles. The 4-Ds represent: discovery; dream; design and destiny. This study was conducted through the application of only two Ds which are discovery and dream phases. The questions used in data gathering were crafted based on affirmative topics to meet the principles of AI. The interview technique was employed and carried out in the form of individual/one-one interviews as well as through focus groups. All Campbell Collections’ staff members were invited to participate in the study, and a few former staff members were also part of the study. The strategic decisions made about whom to invite to take part in a study were based on their experience, familiarity, and understanding of Campbell Collections and the merger. The study findings revealed the strengths and value of Campbell Collections as well as the impact of the merger, mainly in terms of decisions taken at the University’s executive level. One limitation of the study was that it was bound to Campbell Collections; therefore, the information generated could not be generalised and remained specific to the particular case studied. However, the same research can be studied further to evaluate the entire postmerger system of the University. / Thesis (M.Com.)-University of KwaZulu-Natal, Westville, 2010.

Submitted by Clovis Britto (clovisbritto5@hotmail.com) on 2016-05-23T18:01:08Z No. of bitstreams: 1 Dissertação Museologia UFBA Clovis Carvalho Britto.pdf: 4804923 bytes, checksum: e9de30bdb0870a4843fc4bb74946e88a (MD5) / Approved for entry into archive by Oliveira Santos Dilzaná (dilznana@yahoo.com.br) on 2016-11-17T14:53:57Z (GMT) No. of bitstreams: 1 Dissertação Museologia UFBA Clovis Carvalho Britto.pdf: 4804923 bytes, checksum: e9de30bdb0870a4843fc4bb74946e88a (MD5) / Made available in DSpace on 2016-11-17T14:53:57Z (GMT). No. of bitstreams: 1 Dissertação Museologia UFBA Clovis Carvalho Britto.pdf: 4804923 bytes, checksum: e9de30bdb0870a4843fc4bb74946e88a (MD5) / A pesquisa analisa as exposições dos Museus-Casas de Cora Coralina e Maria Bonita tendo como objetivo compreender alguns aspectos da poética oriunda da “narrativa das coisas”. Partindo das categorias “imaginação museal”, de Mario Chagas (2003), “produção da crença”, de Pierre Bourdieu (2002) e “fabricação da imortalidade”, de Regina Abreu (1996), problematiza o modo como as casas e os objetos musealizados se tornam suporte para a musealização da trajetória e do legado do patrono das casas-museus. Reconhecendo a articulação entre o imóvel, os objetos e o anfitrião do espaço, a pesquisa investiga os objetos biográficos, o deslocamento dos acervos pessoais para o espaço público, os trânsitos entre essas duas dimensões e o exercício de dramaturgias de memória a partir da manipulação dos repertórios expográficos. Utilizando um conjunto diverso de fontes (depoimentos, fotografias, documentação museológica, objetos biográficos, produção intelectual etc.), descortina a poética e a política existente na musealização, entendida como uma atitude metapoética. O estudo da trajetória de musealização de determinados objetos e espaços contribui para a visualização das interconexões entre os gêneros (lírico, épico e dramático) fruto das imagens acionadas pela exposição museológica. Entendidas como textos ficcionais, as exposições são analisadas a partir dos conceitos fundamentais de poética estudados por Emil Staiger (1997). A pesquisa sublinha a faceta épica da “imaginação museal” que, ao mesmo tempo, cria uma tensão com a subjetividade lírica. Ao estabelecer uma leitura interessada de determinados fatos do passado, acionando lembranças e esquecimentos coletivos, proporciona à herança lírica um enraizamento épico que, por sua vez, gera uma tensão marcada por uma dramaturgia construída a partir da “linguagem das coisas”. Questões aprofundadas na investigação da poética do espaço nas casas-museus, evidenciadas na musealização (concebida enquanto linguagem) da linguagem (literária) nos museus-casas de literatura; ou na instituição de um epilírico associado à fabricação do heroísmo poético nas trajetórias dos anfitriões das casasmuseus, com destaque para a musealização de objetos e personagens relacionados à saga do cangaço. Esses exemplos pretendem demonstrar as plurissignificações da poética nos museuscasas, especialmente as confluências entre a herança lírica, a expressão do épico e a tensão dramática, acentuadas no viés do trágico (mas que em outras experiências também podem ser marcadas pela comicidade). / The research analyzes the exhibits of House Museums of Cora Coralina and Maria Bonita, from the examination of the "poetic language of things". Starting of the "museum imagination", Mario Chagas (2003), "production of belief" by Pierre Bourdieu (2002) and 'manufacture of immortality" by Regina Abreu (1996), discusses how the houses and objects musealized become support for musealization trajectory and legacy of the patron. Recognizing the link between the property, objects and the host space, the research discusses the biographical objects, the displacement of personal collections to the public space, the transits between these two dimensions and the exercise of memory dramaturgy in the manipulation of the expography. Using a diverse set of sources (testimony, photographs, museum documentation, biographical objects, intellectual production etc.), reveals the poetic and the politics of musealization, understood as a meta-poetic attitude. The study of trajectory's musealization of certain objects and spaces helps to visualize the interconnections between genres (lyrical, epic and dramatic) fruit of the images triggered by the museum exhibition. Understood as fictional texts, exposures are analyzed from the basic concepts of poetic studied by Emil Staiger (1997). This research stresses the epic facet in the "museum imagination" at the same time creates a tension with the lyric subjectivity. By establishing an interested reading of certain facts from the past, memories and collective forgetfulness, provides the lyrical heritage an epic roots which, in turn, triggers a tension marked by a drama constructed from the "language of things". These questions on the poetics of space in the house museums, are evidenced in the musealization (conceived as a language) of the language (literary) in the literature houses museum; or in establishing a epic and lyric associated with the manufacture of poetic heroism in the trajectories of the personages of the house museums, especially the musealization of the objects and characters related to cangaço. These examples are intended to demonstrate the plurissignificação of the poetic in house museums, especially the confluences between the lyrical heritage, the expression of the epic and the dramatic tension, marked for the tragic bias (but in other experiences can also be marked by humor).

One hundred and seventy-eight pieces of Victorian furniture in six Texas historic house museums have been photographed and researched in order to fulfill the three-part problem. (1) to research and write descriptive essays of the four major Victorian substyles--Victorian Empire, Rococo Revival, Renaissance Revival, and Eastlake; (2) to identify and choose six Texas historic houses which are open to the public and which display these Victorian substyles in period room settings; and (3) to identify, photograph, measure, and catalogue each piece of authentic Victorian furniture, and to compile a research guide which includes each of these six houses and their Victorian furnishings. This six-part guide includes brief histories of each house and a catalogue of authentic pieces which represent the major substyles of Victorian furniture. To give the study a broad base, and to make it useful for all students, teachers, and professional interior designers in Texas, two houses which represented the best collections of furniture from each geographic location were chosen. These included: (1 ) from North Texas, the George House and Millermore, both in Dallas; (2) in Central Texas, East Terrace and Fort House, located in Waco; and (3) in South Texas, Fulton Mansion in Fulton Beach, and McNamara House in Victoria. All four of the most popular substyles are represented in the six houses.

This thesis is an exploration of queer domesticity, queer possibility and intuitionin historic house museums. It develops a methodological framework intended to intervene in archival, research, interpretive and institutional practices at these sites. Using the Elfreth’s Alley Museum’s podcast The Alley Cast as a case study, I examine how utilizing a framework that understands queerness to be just as possible as straightness; that uses intuition to guide research; and queer and trans theory to denaturalize categories of sexuality and gender can uncover queer domestic patterns that unsettle and disrupt the public’s hetero- and cisnormative assumptions about the past. I argue that this is a framework that can be adopted by historic house museums in order to engage with queer history when evidence may be lacking or whose historical subjects’ gender or sexuality resists easy classification. Finally, I argue that implementing such a framework can only be done successfully if it is engaged as part of a larger institution-wide commitment to creating a socially just and responsive museum that understands the importance of sharing complicated and difficult history with its public and dismantling its own position of power and authority. / History