I denna undersökning är syftet att ge förståelse för hur ett museibesök kan komplettera undervisningen i ämnet historia utifrån museipedagogernas perspektiv. Som lärare kan det vara svårt att ge en bra bild av verkligheten i historieundervisningen i klassrummet men genom att använda museum kan innehållet göras tydligare. Ett museum är en plats dedikerad för att lära ut historia inom ett område eller en tidsperiod. För att elever enklare ska lära sig om ämnet historia används forskaren Wallace-Caseys grundpelare att elever kan lära sig historia genom att avvända museum. De kan få ökadekunskaper utifrån upplevelser och rekonstruktioner. Genom att uppleva historien får eleverna en större förståelse. Upplevelserna skapar nyfikenhet vilket gör eleverna mer öppna för att lära. För att få empiriskt material har pedagoger på ett större museum intervjuats. I intervjuerna besvarar museipedagogerna vad de menar att de kan komplettera med och hur de arbetar utifrån kursmålen i historia. Vidare besvarar de hur de anpassar sina upplägg av besöken för att alla elever ska tillgodogöra sig kunskaper. Museipedagogerna har en lång erfarenhet av att arbeta med skolklasser i alla åldrar. Med mina intervjuer avser jag i första hand elever i årskurs sju till nio.  Min undersökning visar att museipedagogerna inte utgår från skolans styrdokument när de tar emot skolklasser men att de ändå har de med sig som ett stöd. Museipedagogerna kompletterar skolans undervisning genom att ge eleverna upplevelser som ger förståelse. På museet är det enklare att fånga intresset hos okoncentrerade elever än vad det kan vara i skolan.

A thesis project that investigates layeredness in space in a museum for sketches on Djurgården in Stockholm. The thesis tries to explore spatial overlay, and how space can be created with the intention of achieving layered qualities. References of layered space have been gathered and investigated in order to further the analysis. The program of the sketch museum corresponds with the thesis question and is intended to act as another driving factor in the investigation.

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This thesis is a synthesis of two separate research projects conducted in the summer of 2018 and the spring of 2020. The first project was conducted in conjunction with the Fort Ticonderoga Association as a means of exploring the memory and legacy of a historic military landmark in written history, interpretation, and public memory. The second project was conducted in conjunction with the National Park Service (NPS) and the American Battlefield Protection Program (ABPP) with funding from the National Endowment for the Humanities (NEH). Instead of focusing on a single site, this second study looked at a collection of federal, state, local, and private battlefields in order to catalog the administrative histories, the boundary expansions, and the preservation priorities that have occurred both at the individual sites as well as collectively over time. The scope of the NEH grant was meant to evaluate the role that the NPS, ABPP, and the Department of the Interior have played in developing and refining preservation standards used by federal and non-federal sites. This thesis integrates the two studies in order to examine the correlation between public memory and battle sites in North America. / History

Tiles create patterns, sequences, and order. This work proposes a museum and creative space that showcases clay tiles. The building itself allows for puzzling wayfinding that encourages curiosity and exploration from the visitor, where paths cross and no two experiences in this space should be the same. This work also explores creative processes of tile-making through experimental pieces that have been developed at Virginia Tech's clay studio and accompany this work. / Master of Architecture / Tiles create patterns, sequences, and order. With the ever increasing mass-manufacturing of building materials in modern times, the art of artistic, detailed, and decorative tiles has been a form of art that today is most appreciated through frames and small showcasings of only 2-3 pieces together. This work proposes a museum and creative space that showcases modern clay tiles in the building itself while also displaying artworks in exhibits. This work seeks to encourage exploration of modern-day tile making, within a space that encourages curiosity in the visitor while also allowing for creative exploration from them. This work also explores creative processes of tile-making through experimental pieces that have been developed at Virginia Tech's clay studio and accompany this work.

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007. / Includes bibliographical references (p. 67-71). / This thesis is an examination of the 1976 Museum of Modern Art exhibition of color photographs by William Eggleston-the second one-man show of color photography in the museum's history- with particular attention to the exhibition monograph, William Eggleston's Guide. From hundreds of slides, MoMA Director of Photography John Szarkowski dominated the process of selecting the 75 images for the exhibition and 48 to be carefully packaged in the Guide, a faux family photo album/road trip guidebook. It is my contention that, despite their verbal emphasis on the Modernist and universal (rather than Southern) nature of the images, the photographs can be read as being replete with the mythology of the Old South- its decay, vulgarity, and even horror. Through this act of manipulation, the images in the Guide appealed in a voyeuristic way to an elite Northern art world audience, ever eager to reinforce its own intellectual, economic, and ethical superiority over other parts of the country. Due to its presumed "vulgarity" and absence of aesthetic mystique at the time, color photography required for its inaugural moment at the museum a sharp distancing from the documentary tradition and advertising-the complete erasure of social context afforded by a Modernist aesthetic. / (cont.) The two-faced posture maintained by the curator and photographer combined a canny understanding of the cultural power of the images with an overtly Modernist disavowal of it. / by Anna Karrer Kivlan. / S.M.