No description available.

No description available.

Final Project (M.A.)--John F. Kennedy University, 2005. / "August 29, 2005"--T.p. Includes bibliographical references (p. 147-150).

Thesis (M.Sc.)--University of Hong Kong, 2007. / Includes bibliographical references (p. 78-90).

Thesis (Ph.D)--Architecture, Georgia Institute of Technology, 2009. / Committee Chair: Peponis, John. Part of the SMARTech Electronic Thesis and Dissertation Collection.

Oldenburg, Universiẗat, Diss., 2000. / Dateiformat: zip, Dateien in unterschiedlichen Formaten.

A museum is an important type in the palette of public buildings. Most famous and iconic museums are mainly dedicated to house artworks or historical and cultural artifacts. Aside from the sheltering of the artifacts, museums often are landmarks, which contribute to the identity of a place. The few museums dedicated to the automobile is interesting because America, also called the country on the wheels has little more than very basic renovated warehouses or former factories, with little commitment to exhibiting cars in a beautiful manner. The proposal here seeks to define a space that both honors its Corvette exhibits and hopefully provides sufficient architectural character to be accepted as an institutional landmark. / Master of Architecture

No description available.

Although there is a growing practice of puppetry in education, there has been no academic research to date on the range of puppet theatre styles and techniques in the museum context. This interdisciplinary thesis seeks to investigate what I call ‘museum puppetry', e.g. puppetry used for pedagogical purposes in museum studies' with a focus on the exchanges, compromises and tensions among museum staff and puppet theatre practitioners. Although the research is conducted mainly from the puppeteers' perspective, the voice of museum experts is also present throughout. The thesis examines puppetry's theoretical and practical frames for creation and how these can be used to conceptualize the applied form of this marginalized medium in the contentious territory of museums today. It also investigates what benefits, challenges and limitations are faced by the two distinct communities of practice (puppeteers and museum staff) in the pre- and post-production of museum puppetry projects. This multiple case-study, qualitative research examines the current work of practitioners who present and perform in museums, mainly in the United Kingdom, United States, Greece and Israel. The data analysis, based on interviews and field work, also aims to investigate the projects' preproduction processes. Furthermore, it explores the negotiations between puppeteers and museum staff around the visual and performance aspects of museum puppetry projects from a technical and aesthetic point of view (construction, narrative, manipulation techniques). The research also suggests that although museum puppetry is currently a marginalized museum practice, its distinct sign system renders it rich in meaningful and soulfull associations, strongly visitor-oriented and remarkably flexible. Commissioning long term museum puppetry projects remains —with a few exceptions— a missed opportunity, due to prejudices and low expectations. Overall, the thesis reclaims the pedagogical, aesthetic value of puppets as ultimate metaphors. It advocates the holistic, eco-friendly aspect of the practice and favours the empathy and thought-provoking gaps it traces. Finally, it attempts to balance constructive, unpredictable learning with significance and fun.

Paderborn, Universiẗat, Diss., 2000.